#a sequel continues the story of a previous work that's literally the entire fucking point

[stairset]

I realize this could get me crucified in certain circles but as good as Andor was I really do think its fans can be truly insufferable.

[jennaflare]

Nextfest Game Demos You Should Try

I've been playing a ton of demos during nextfest (going until 10/21 if you want to try any of these yourself!) and figured I'd spread the good word about some games worth checking out. Naturally, all these demos are free. I trawled mostly through the "story-driven" section, but there's a range of genres I tried. If you like games like Disco Elysium, Pentiment, In Stars and Time, or Night in the Woods, we might have similar taste! (Here's a longer list of games I've enjoyed)

Citizen Sleeper 2: Starward Vector

The sequel to the fantastic sci-fi RPG Citizen Sleeper (which if you haven't played it yet, what are you doing! go! play it!). This game is a Discolike that has its own identity and mechanics. Big emphasis on space capitalism and how awful it is. This one introduces an actual crew to the familiar gameplay of the previous game, which I'm very excited about. I love the idea of actually having my own ship + people aboard it who are a continuous presence in my game. Check! It! Out!

The Rise of the Golden Idol

An extremely good puzzle game where you collect clues and fill in the blanks (literally). I still haven't played the first one (only played the demo for that too) but man! The game mechanics are fun and I love the art soo much. I love solving puzzles and I love how these are decently challenging without feeling like I'm beating my head against a wall.

The Scarlet Deer Inn

An adventure game inspired by Slavic folklore where you play as a mother and innkeeper. All the characters are embroidered!! It's so cool!!! Visually, it evokes Ghibli and Pentiment. The story quickly took a dark turn in the demo, and I am extremely intrigued to see where this project goes. Highly highly recommend checking this one out.

Keep Driving

A lowkey management RPG with great pixel graphics and fun music. You're a young person on a road trip, so you need to maintain your car, work odd jobs to buy gas, and most importantly, have fun! I can easily see myself losing entire days to this game. Fun little gameplay loop. Give it a try!

Mushroom Musume

Raise a mushroom daughter in this pixel RPG! Just in the demo, there's something like 30 endings. I've played through three times and gotten three different mushroom daughters, and the final version (out later this year) will have double the content that's in the demo. The art is great and the game is well-written. I'm going to keep playing this demo until I've exhausted it!

Loco Motive

Point-and-click murder mystery comedy on a train. Great voice acting, fun & bouncy pixel art! Had a great time playing this one. Not a lot to say about it aside from it's fun and made me laugh.

Urban Myth Dissolution Center

Ooooo it's spooky! Another pixel game with really, really fantastic art. You're a new investigator for the Urban Myth Dissolution Center and it's your job to look into rumors of urban legends. This one's also a point-and-click investigation game, though with a bent towards horror. Really looking forward to getting to play the full release for this one.

The League of the Hustlers

A point-and-click adventure game set in 1700s France. You play as the members of a group of rebels who rob & murder nobility, specifically those tied to an organization called the Sons of Sun (I think they said that was the name anyway). I'm intrigued by this one! The demo was short and some of the mechanics are stupid difficult (looking at you, swordfighting minigame), but I was able to skip the section after a few failed attempts. There was very little in the way of instruction on the minigames, so I hope they add that in. I like the art style.

The Edge of Allegoria

Pixel turn-based RPG that takes inspiration from classics of the genre. It goes a little too hard on delivering on the steam store's page promise of "this ain't no f@#%ing kid's game" imo. Like ok I get it, you say fuck a lot and murder squirrels. That said I did have fun with the mechanics, and the humor could probably work for some people. Feels like the kind of game I really would have liked between the ages of 16 and 20 because it was "edgy" and "not for kids." ymmv.

Button Man

Set in 1920s Nova Scotia, you play as an enforcer for a local gangster. I love the vintage comic book art style with the halftones and comic book panels. The controls were a little weird (for some reason I couldn't use WASD for movement) and there's like two different interact buttons and they don't explain either? Didn't get to see too much of the story, but I had fun with it.

My Party Needs an Alchemist

Extremely cute. You play as an alchemist struggling to gather ingredients in a dangerous world. Luckily, you find a party to help you out, you just have to keep them alive! I have been craving an alchemy game that I actually think is fun (aka something that breaks up the monotony of making potions with story or some other minigame or whatever) and this looks very promising! The characters I've met so far are sweet and the art style is adorable. Looking forward to the release for this one.

Rooster

Another cute one. You play as Rooster of the Chinese zodiac, sent back to ancient China to learn a lesson. About being a decent person, I think? The art is cute and the music is nice. It's a very casual experience and feels like it's meant for a younger audience.

Polismos

An ancient Greek citybuilder. It seems very intricate and could potentially be fun! The UI is a bit busy, but that's kind of how citybuilders tend to be. I didn't play too much because I always WANT to like citybuilders but I never find them all that fun. Worth a look if it's your genre, though.

Demos I played so you don't have to

Divinastros - Card game using tarot suit cards & zodiac influences. You're fighting against Olympus (often mispelled in the game as "Olimpus," though the misspelling is inconsistent). I never really figured out how to play because it felt like the rules and objectives were poorly explained. Mediocre art and the game is rife with misspellings and grammatical errors I would have overlooked if the game had been fun. Maybe you'll get the hang of it, though.

Grimfield Mystery - This one was sooo disappointing. The art & vibe of the trailer made me think of Gravity Falls, but the gameplay was clunky, poorly explained, and not really fun. Maybe the full release will improve upon what's here but for now, I don't recommend it, and I'm not wishlisting this one.

Ad Agency Simulator - Another in these weird specific simulator genre. Fun enough, if that's the kind of thing you like. Drag-n-drop ad maker thing. Possibly uses AI art but I really didn't look that hard or play that much so. shrug.

[happymetalgirl]

Five* Outside albums of 2020

I do this little list every year of my favorite albums that fall mostly “outside” the metal sphere and weren’t so metal-adjacent that I reviewed them formally during the year. The past three times I have written this little piece, I have kept it to five, but *this year, I’ve just had a hard time narrowing it down, so I figured, why do that? Well, I could go through a few dozen albums or so that I fucked with this year outside the metal sphere, but I’m compromising with the addition of a new, quick (we’ll see) honorable mention section.

So, in the interest of keeping my verbose tendencies in check, I’ll cut this introduction off and get into the honorable mentions.

Honorable Mentions:

Anna von Hausswolff - All Thoughts Fly

I did review Anna von Hausswolff’s previous record, Dead Magic, back in 2018 as part of my bunch of metal albums reviews that year, because it was kind of tangentially metallic. It wasn’t a lot at a technical level, only a few metallic elements here no there, but it had a lot of harrowing qualities that I thought metal listeners might appreciate. For the Swedish singer and pipe-organist, that album really was the closest she ever came to metal’s territory, and I don’t think any flirting with the genre was intentional on her part. Most of what she does is haunting, neoclassical, organ-based music that’s usually not as wild as what Dead Magic was, and this year’s album is a real scale back to her roots and an appreciation for the pipe organ. While I do miss her bewitching vocals on this entirely instrumental album, All Thoughts Fly stands well on its own merits as both a solid tribute to von Hausswolff’s organ playing and as a beautiful, incredibly immersive ambient album that does so much with its relatively small palette. I’ve talked a few times on here about really shitty ambient music that’s approached with a clearly lazy attitude because of its supposed background role. Rather than being made to be ignored, All Thoughts Fly pulls you in and around in a swirl of lush sounds that aren’t too common in ambient music, and with a relatively minimal approach, relying on the naturally serene tambre of the instrument to fill the space with a lightening, floating ambience and well-structured movements to do the gentle moving. It’s a beautiful example of what an ambient album can achieve if it’s actually made with a lot of love and care.

Shabaka & The Ancestors - We Are Sent Here by History

Okay, that first one went pretty long. I’ll try to keep the rest of these here relatively short. Sons of Kemet band leader, Shabaka Hutchings, takes his other group on slightly less chaotic Afro-jazz odessey that what Sons of Kemet have been delivering us. While more contained on the surface within the genre’s usual light grey areas, Shabaka & The Ancestors move with freedom and flexibility on this album in a way that highlights the natural appeals of the Afro-jazz sound pallet through constantly engaging arrangements from masters of the craft.

Lady Gaga - Chromatica

I know we’re all well aware of Lady Gaga, but the pop icon has been relatively quietly been making the best music of her career since taking the edge rather than the center of the spotlight, from 2013’s diverse Artpop to 2016’s more bare-bones Joanne. And now, after her mellower, more traditional Americana-influenced album in 2016, Gaga cranks the volume and the fun way back up. Chromatica is a blast of an album whose wide span of dance pop albums influences new and old keeps it varied and lively all the way through. This album feels very much like it’s Gaga unleashed, just doing her thing and having a good time with a bunch of dance music styles that she’s always loved, and it’s impossible not to feel that enthusiasm secondhand, and groove the hell out along with it.

Black Thought - Streams of Thought, Vol. 3: Cane & Abel

Black Thought has had nothing to prove since the relative inactivity of The Roots this past decade, but he has sure been rapping as if he does have something to prove on his solo work. The Philadelphia rapper put out a couple of EPs back in 2018 that showcased his impressive modern lyricism and flow, and the third, LP-sized installment in the series is just another offering of further proof of the man’s lyrical chops. There’s a little bit of an understated delivery in the music overall, but Black Thought really lets his words speak for themselves more than his moderate bravado. It’s not super flashy because it doesn’t need to be.

Phoebe Bridgers - Punisher

Indie folk has always loved to soak in the puddles of personal sadness, but Californian singer Phoebe Bridgers takes the style to whole new depths of personally gripping, bordering on the outright emo, and that is by all means a compliment for rather than a shot at. The album’s candid journaling of Bridgers’ personal struggles is so tangible and so genuine that it would probably rival Connor Oberst’s best work with Bright Eyes. It is just a beautiful, yet tear-inducing album.

Alright, now on to the five “main” “non-metal” albums of the “list proper”.

Hexvessel - Kindred

Hexvessel are a Finnish six-piece whose sixth album of psychedelic folk here manages to touch on the same haunting, gothic tones that groups like Opeth and Gazpacho do at their most forest-y. Indeed, Kindred is an enchanting album, with sprawling styles and a full-bodied sonic pallet to keep it interesting the whole way through. And it’s as strong in its more bombastic song like that which opens the album as it is in its more stripped back acoustic tracks like that which closes it. Songs like “Magical and Damned” straight-up evoke Mount Eerie, while songs like “Kindred Moon” hearken to The Beatles at their most minimal and folky, and there’s plenty of spooky, mystical energy to go around. Definitely one of the best finds of the year for me.

The Strokes - The New Abnormal

Coming at the end of a seven-year gap between it and their previous album, 2013’s somewhat fan-polarizing Comedown Machine (which I liked a lot), The Strokes’ aptly named return is a return to the spotlight, but hardly to normalcy or the musical roots in garage rock that so many of the band’s fans have been sweating for. Twisting the electronic alternative rock of their Angles era into some odd, but mesmerizing forms, The New Abnormal is a subtly wild ride of an album through lots of melancholic overtones and undertones whose impact is made all the more potent by the occasional teasing of sorts with the few more traditionally rockin’ moments on here. It doesn’t take long to pull back the seemingly preppy synth rock or 80’s rock curtains to find the melancholy beneath “Brooklyn Bridge to Chorus” and “Bad Decisions”, respectively. But the band aren’t even that subtle with the immediate depression of just the straight-up guitar melodies on songs like “Selfless”, “Not the Same Anymore”, and the chill-inducing soar of “Ode to the Mets”. The album’s prize piece, though, has to be the utterly gorgeous and empathetic minimalist synth song, “At the Door”, whose simple melodies and bare delivery make for one of the most gently heart-piercing songs I know and of my favorite songs of the year and probably my favorite Strokes song ever, as hard as it is to listen to. Welcome back Julien and company.

Rina Sawayama - Sawayama

Quite possibly the best outright pop album I have heard in a long while, Sawayama sounds simultaneously fresh and vintage in the landscape it was born into, making use of a lot of early 2000’s pop rock instrumentation, even some heavy metal guitars here and there, but most importantly, a real sense of passion that seems to be flat-out absent from so much of the pop that I (usually inadvertently) hear. I don’t want to overstate the prominence of the metal elements, but the album does have a bubbling, infectious energy both vocally and instrumentally from front to back that the occasional bursts of heavy guitars between Sawayama’s charismatic, dance-inducing performances do provide a good snapshot of. Furthermore, there’s a rich diversity of song types across the album that dive into the pop sphere beyond the standard trend-hopping that dominates streaming playlists and make for a dynamic and fun, rather than disjointed, pop album. And that’s all only possible with the consistently tight compositions o the album. Indeed, this is one of the best pop albums I have ever heard, certainly in recent years.

clipping. - Visions of Bodies Being Burned

clipping. are the second artist to be on here two years in a row after last year’s spectacularly spooky There Existed an Addiction to Blood, and Denzel Curry’s one-two punch of TA13OO and Zuu in 2018 and 2019 respectively. There Existed an Addiction to Blood was a thrilling and fresh take on many tropes of horrorcore with the band’s already forward-thinking and creative noise-driven instrumental production guiding harrowing stories of femme fatales and street violence in a more modern setting that often flipped the script on victims and perpetrators, as well as settings themselves. Visions of Bodies Being Burned is quite literally a continuing sequel to that explosive album, also released in time for Halloween this year; the material was recorded in the same sessions as the previous album and in the same unique vein. Consequently, there’s not really a whole lot I can say about this album in contrast with the last without getting way too in-depth and spoiling the fun. Whereas MC Daveed Diggs’ hooks were one of the biggest strong points of last year’s album, the creatively noisy production is the big star on this album. The fans seem to be leaning a bit more toward this year’s release, but I think I’m still a little partial to There Existed an Addiction to Blood. Nevertheless, Visions of Bodies Being Burned is a blood-pumping follow-up not to be missed.

Mac Miller - Circles

The posthumous release from Pennsylvanian rapper Mac Miller captures the man at his most chill and contemplative. The album is more of a minimalist ambient singer-songwriter sort of album than hip hop and its serene atmosphere becomes kind of inadvertently tragic in the posthumous context, but it serves as a beautiful swan song for the creative rapper whose struggles with addiction sadly prevented him from being able to bask in the deserved wide appreciation of his sixth album. Circles is a soulful, bittersweet cap to Mac Miller’s legacy that I think anyone will be able to feel the love and raw humanness of.

[scottymcgeesterwrites]

10 Underrated Movies of the 2010s

1. John Carter (2012)

Before Snow White and the Seven Dwarves was even produced in 1937, Disney was considering producing an adaptation of Edgar Rice Burrough’s A Princess of Mars as Disney’s first animated film. During its pre-production stage, producers weren’t quite receptive to the concept. The story was about a man being transported to Mars, where its gravity gave him super powers, and he fought with four-armed green-skinned aliens. Back then, space ideas were the last things on people’s minds in the ‘30’s. They wanted something uplifting from The Great Depression. Disney didn’t quite scrap the story; they shelved it for later and decided to go with Snow White and the Seven Dwarves as Disney’s (and the world’s) first feature-length animated movie. John Carter holds the award for the movie with the longest time spent in “development hell”. For the next 75 years, different directors and producers would try to bring back the classic tale of daring-do on the planet Mars. Growing up reading Edgar Rice Burrough’s novels, I was enthralled to hear that they finally produced a live-action film to be released on 2012 – and it was even near my birthday! March of 2012 marked 100 years since Edgar Rice Burroughs published A Princess of Mars. It was like all the stars were truly aligned for something great. The movie finally came out and it . . . didn’t do well at all. It’s also notable for being one of the most expensive movies ever made – and it was all for nothing. What happened? Most of you reading this may even be unaware of the hero John Carter or A Princess of Mars. I find that the main issue was the problem of John Carter being largely unknown because it has been long overshadowed by Flash Gordon, Superman, Star Trek, Star Wars, Battlestar Galactica, and literally everything else that owes its inspiration to John Carter. Superman got its concept of gravity-granting superpowers from John Carter. Flash Gordon got its human-on-another-planet heroics from John Carter. Star Wars derived nearly everything from Flash Gordon. The domino effect goes on. The further you go, the more people forget the original inspiration, and we live in a world now where people don’t really care about who did it first, but who did it best.

There’s a particular scene in the movie John Carter where the titular hero has to fight monsters in an arena. Many critics were bored of the scene, claiming they saw it already in Star Wars Episode II: Attack of the Clones; which is ironic being that the arena scene was written almost a full century before Attack of the Clones. Scantily clad Carrie Fisher in Return of the Jedi? That’s a Deja Thoris reference from A Princess of Mars.

It can be difficult to judge a movie or story by itself aside from other derivative works. When that source material is some obscure adventure tale that is literally older than World War I, you should realize that probably not a lot of people have heard about it nowadays.

The film suffers from two other major points: the runtime and the combination of books one and two of Burrough’s original trilogy. A Princess of Mars is a rather simple tale of a man saving a princess on Mars. Its sequel, The Gods of Mars, goes into more complex matters as the evil Therns are revealed as a group of mysterious aliens controlling all culture and life on Mars for their benefit. The movie John Carter tries to combine the two, and I see why. Modern audiences are uninterested in seeing another adventure tale about a guy saving a princess. Ironically, that would have worked much better in the 1930’s, but the Disney board at the time was like, “Space? What’s that? Mars? What’s this newfangled spaceship business?” John Carter ultimately had the unfortunate and unique experiences of being both too ahead and too dated for its time.

I still highly recommend it because the production value is amazing and it’s still highly entertaining. The score is fantastic (Michael Giacchino), and the performances are great, albeit with some cheesy dialogue. The screenwriters added more depth to the character of John Carter that really pulls some heartstrings, especially during one particular scene where he’s bashing hundreds of aliens to a pulp.Unfortunately, the poor performance of John Carter prevented its sequel and the planned trilogy from ever being produced. At the end of the day, I’m still content with seeing the world’s very first space adventure that ultimately inspired Star Wars finally put on screen. 2. Solo: A Star Wars Story (2018)

I was frankly surprised when nobody else cared about a Solo movie coming out. Having read A.C. Crispin’s Han Solo Trilogy when I was a kid and having overall grown up loving the character, I thought ANY Star Wars fan would be pumped. That was the issue right away before the movie even hit theaters – Nobody. Fucking. Cared. The previous year’s Last Jedi left a sour, divisive taste in the Star Wars fandom. Toxic fans threw their hands in uproar and an entire debacle unseen since the prequel trilogy exploded. Like with Jake Lloyd in The Phantom Menace, fans had continually harassed and bullied Kelly Marie Tran for playing Rose to the point where she quit Instagram. YouTube videos nearly 30 minutes long were dedicated to bashing the film and “SJW culture” and “virtue signaling”. The entire debacle was a nightmare that makes me shudder to even think about. It was like everyone was tired of Star Wars by the next year. Some people like to say that “Star Wars fatigue” wasn’t the thing because nobody was tired of Marvel movies. I disagree. First of all, I witnessed immediate responses to people’s reactions at the trailer. They said “I don’t care” and “Why do we need that?”. Second, Star Wars and Marvel are two completely different universes. Marvel has a nearly infinite range of various stories with various atmospheres and moods and characters. One Marvel fan can “specialize” in Doctor Strange while another mostly loves Thor. Star Wars follows the same group of characters over the same damn story that we’ve already known for the past 42 years. Like John Carter, Solo had the same problem by being too confident and throwing too much money into its production. Solo also happens to be on the list of the most expensive movies ever made. Its poor performance and inability to make a return on the total costs scrapped the possibility of any more future standalone Star Wars films. Further dissections of why it didn’t work out vary. Some people hate the droid L3-37 and claim unnecessary SJW content. I disagree with that too. In my rulebook, something in a story is not unnecessary unless it proves crucial to the plot; L3-37 is the reason why the Kessel Run worked. Were it not for her fanatic desire of starting a droid revolution, Han wouldn’t have survived. The idea of revolution is also crucial and foreshadows the coming Rebel Alliance. I wonder if people would have had the same reaction to L3-37 if the movie had been released years before the current political situation; if we would have just seen her as a cool, kooky and rebellious droid instead. Solo: A Star Wars Story reveals that Han has always been around instances of rebellion, which he has tried to ignore. It isn’t until A New Hope that he finally gives in for good. I honestly don’t see why some people say it doesn’t fit with A New Hope when it clearly does. One of my favorite parts is when Q’ira tells Han, “I know who you really are.” From the trailer, you would expect her to say “A scoundrel.” But in the film, she says, “The good guy.” The film cements the idea that Han has always tried to look and act cool but deep down he gives in to doing the right thing, which separates him from the other scoundrels at the cantina. It’s because of this adventure that he ends up helping to blow up the Death Star later on. Also, like John Carter, the score is absolutely fantastic. I could go on about it but that would derail the topic for another time. 3. The Gift (2015)

I ended up seeing this movie on a whim by myself after someone bailed on me at the last minute to hang out. I had nothing to do but wanted to do something and checked what was playing in theaters at the time at my local theater. The synopsis hadn’t told me enough about what was really going on while at the same time enticing me. Jason Bateman though really surprised me in this role.I really don’t want to give anything away other than what you can find on the basic synopsis. Jason Bateman is married to Rebecca Hall and the two share a completely content life, until an old school friend of Jason’s starts visiting them. Joel Edgerton plays the school friend, and it’s quite amazing that he both wrote and directed this film too. 4. Prisoners (2013)

This movie was great – and absolutely nobody talks about it. I recall wanting to see a movie with my mom around fall of that year. We realized there was really nothing interesting in theaters. It was a lull where there was nothing really interesting playing. No blockbusters and no Oscar buzz. We chose Prisoners solely based on the fact that we like Hugh Jackman and Jake Gyllenhaal, and I guess we also gathered the general sense that it was a mystery.I became glued to the screen during the entire movie. The story revolves around Hugh Jackman’s daughter supposedly abducted by Paul Dano, who plays a mentally ill suspect. Jake Gyllenhaal plays the detective tasked with finding the daughter. With Paul Dano being unable to articulate his thoughts, everyone is left distraught on how to solve this case. Hugh Jackman and Jake Gyllenhaal take drastically different routes in trying to find the girl.Out of everything on my list of underrated films here, this was the most nail-biting. Highly recommend. That ending. Whoo. 5. Source Code (2011)

This movie is a real mindbender. It might be so much of a mindbender that it’s the reason why people didn’t talk about it more. They probably just thought, “Huh?” and wanted to rewatch the previous year’s Inception again instead.Jake Gyllenhaal is on a mission to find a bomber on a train in a computer simulation. That’s how it starts at least. . .   Another movie I probably shouldn’t explain too much, but it explored themes about a post 9/11 world and the nature of self. 6. The Big Short (2015)

This movie was a hit and then everybody forgot about it. Heck, I know a bunch of you didn’t even see it. I find this really concerning. Brought to you by the director of none other than Anchorman, Adam McKay directed a very entertaining but distressing take on the Great Recession. It has an ensemble cast of Brad Pitt, Steve Carrell, Ryan Gosling, and Christian Bale. The movie manages to translate complicated, bullshit concepts in Wall Street into layman’s terms. Every performance delivers, yes, but it was also staggeringly prophetic in what would come a year later in the 2016 election – “I have a feeling, in a few years people are going to be doing what they always do when the economy tanks. They will be blaming immigrants and poor people.” This movie should have seriously started a riot. But it didn’t. Watch it. 7. Spectre (2015)

Many Bond fans hated Spectre, and it’s often compared to the supposed high-and-mighty Skyfall. I beg to differ. Spectre brought back the fun in Bond without also resorting to the really obnoxious misogyny. The Daniel Craig era of Bond films went back to Ian Fleming’s original intention of Bond being more of a “blunt instrument” than the tongue-in-cheek action hero he came to be known in the film series. And that’s okay. But you can’t help but be bored once and a while by the recent trend of “making things gritty in the new millennium”. Spectre brought back the evil Blofeld, Bond’s nemesis. Fans hated it because this movie implies that every other Daniel Craig movie has been tied to Spectre, ruining the standalone nature of Skyfall and feeling like Spectre was a shoe-in.

This situation requires a lot of explaining, but I’ll be brief.

The creative entities of Spectre and Blofeld were tied up in a copyright battle for almost half a century. Back when Ian Fleming was still alive, he was working on a script for Thunderball with a screenwriter named Kevin McClory. Long story short, there was a dispute on who created Spectre and Blofeld – Fleming or McClory. McClory won the dispute and MGM (the producers of the Bond films) were prohibited from using the names and characters of Spectre and Blofeld.

The last time we officially saw the character in name was in 1971’s Diamonds are Forever. Blofeld made a cameo in 1981’s For Your Eyes Only but was never mentioned by name, but you knew it was Blofeld because he was always the man with the white cat. McClory did eventually make his own version of Thunderball in 1983’s Never Say Never Again, which was an unofficial Bond movie yet it still starred Sean Connery (crazy, I know).

Fast-forward to when the Daniel Craig era started in 2006 with Casino Royale. Spectre and Blofeld were still under copyright protection of McClory. Instead of using the name Spectre, the writers had to come up with another Specter-inspired evil corporation. So they came up with “Quantum”, the evil company behind the plots of Casino Royale and Quantum of Solace.

BUT THEN, the McClory estate officially settled the matter with MGM in 2013, and Spectre and Blofeld could now be used. The writers jumped on it and that’s why to some Spectre feels like it was a shoehorned at the last minute.In my opinion, Skyfall had more issues being a standalone film. The villain Silva was supposed to be working alone and yet somehow create all these elaborate, time-sensitive plots that was just too much for one man with maybe a few henchmen to pull off. In Spectre, it’s implied that Silva used Spectre’s resources to help him plan his revenge. This would realistically make more sense. After all, it’s in the name: SPecial Executive for Counter-intelligence, Terrorism, Revenge, and Extortion. One would go to Spectre in order to enact revenge on someone if one didn’t have the means or resources.

And the whole Quantum being a part of Spectre thing – so what? Quantum was meant to be the same thing anyway. Lastly, there is some dispute on to the nature of Blofeld’s relationship with Bond. Bond suddenly has an evil foster brother now? Some complained about it. I thought it was fine. It gives a reason for Blofeld to go out of his way to torture Bond rather than just shoot him, which is a point always parodied in Bond spoofs. So again, it actually makes sense. I thoroughly enjoyed Spectre. It was virtually not misogynist out of the new Bond films. It treated the main girl, Madeline, very well, as well as the “other” girl Lucia. Yeah, some of the action is dumb and more out of spectacle than realism. It’s still done with the same wit and style of the old Bond films. 8. Shazam! (2019)

Yeah. I get it. Everyone’s tired of the god-awful, insipid DC Cinematic Universe (except for Wonder Woman), which pales in comparison to the Marvel Cinematic Universe. But Shazam! was finally a very fresh, funny, and lively DC movie. What makes it stand out to me was how it ended up revolving around the main character’s friends standing together with him, rather than just simply being an origin story of one superhero. Nothing felt like it fell flat. The humor was spot on. The action was good. You had a really pained, terrible villain. Some of the plot may be simple but it had a satisfying ending. Shazam! has the same kind of energy as Spider-man: Homecoming, but by doing its own thing and having its own theme of what a family really means. It revels in the genre by literally putting you in the shoes of a child’s wish fulfillment. 9. Safety Not Guaranteed (2012)

I saw this movie on a whim on Netflix. Nobody has made any fuss about it. I think it was fantastic. It’s a quirky sci-fi comedy with Aubrey Plaza playing a newspaper reporter investigating an ad someone put in the classifieds asking for a time travel companion. She goes along with two other co-workers, played by Jake Johnson and Karan Soni (who later becomes the taxi guy in Deadpool). I have to be honest – I don’t find Jake Johnson that funny. In most things I’ve seen him in, I feel like his reactions are forced. But his deadpan deliveries in this movie are on the spot. Mark Duplass was still relatively unknown at this time, and played the oddball guy who placed the ad and firmly believes he made a time machine. The entire movie only costed $750,000! Movies today need to spend over $10 million in order to try and make something as compelling as this. This movie alone influenced the modern indie film industry by combining forces with Netflix. Maybe Netflix and chill wouldn’t have been a thing if it weren’t for this movie. 10. The Nice Guys (2016)

I saved my personal favorite for last. The Nice Guys is my favorite underrated movie that I have seen this past decade. It has everything I love in a buddy film; wit and style. Written and directed by Shane Black, this movie has some real zingers and hilarious deliveries. Ryan Gosling plays a jittery private detective, who unwillingly teams up with Russel Crowe, who beats up people for a living. The story revolves around a missing girl who is a key witness to a grander conspiracy involving the automobile industry. This is one of those movies that never fails to make me laugh. I can rewatch the same scenes over and over and still crack up with laughter. My only gripe is that the final confrontation can be a bit unrealistic at times, which can be close to breaking that border of “Okay, is this witty satire like Coen Brothers or just outright comedy sketch like The Naked Gun?” So to me it felt a little imbalanced in the last quarter. Still, the rest of the movie really hits the right marks.

[realllllfangirllllll]

Beyond Lovers || Chp.20

{More Than Friends Sequel}

Chairman!Jaehyun AU x CEO!Reader AU

Summary: You find yourself falling deeper and deeper in love with the former CEO after overcoming your fear of love. Although there were rough patches, both of you are now stronger than ever. However, you realize that maintaining a relationship and a company at the same time can be very difficult, especially if someone is out to destroy the both of you.

Masterlist

{Previous / Next }

“I don’t have any patience with you anymore. Jung Yoonoh you better spill everything you’re holding back today or you won't ever see me again.”

Jaehyun’s anger quickly dissipated, his eyes turning to look at you. With your arms on your hips, you waited impatiently. You were beyond infuriated. First, Jaehyun beats Yuta up with his company as an audience. Then, he almost hits you for convincing him that Yuta is a guy he can trust. And now, he almost hit Yuta again. You’ll never understand his reckless behaviors and quite frankly, you had about 5 seconds left before you plan to give up on your boyfriend entirely. 

Just when you were about to leave, he spoke up, “Yuta. He’s the problem, y/n…”

Frustrated, you threw your hands up in the air, “Again?!? Really Yoonoh?!”

Jaehyun sighed out, knowing you didn’t believe him. Running his hand through his messy hair, he slowly got up. You saw him wincing slightly from the pain in his rib, but you fought against dashing to his service. Your eyes followed him as he reached for his phone on the bookshelf.

Sighing, you asked him, “What are you doing now, Yoonoh?”

He walked closer to you now and assured you in a soft voice, “Please, just trust me on this ok?”

You were confused by his words but proceeded to look at what Jaehyun was trying to show you on his phone.

“He’s literally the blood relative of a scheming devil and I don’t want you near him, let alone have our company involved with him. I understand that I got too angry at you but what I just don’t understand is why you insist on sticking to that devil’s brother. I’ve cut ties with that family already why do you hav-”

Jaehyun cut his explanation off early as his eyes diverted to what you were doing. You scrolled up his texts with Emily and when he saw he quickly took the phone from your hands. “We’re you even listening to me?”

Running your hands through your hair, you tried to piece everything together. Your mind was a wild mess as you took in the information you saw on your boyfriend’s phone. You settled to sit on the corner of his bed to get a better hold on yourself. You palmed the side of your head and sighed. “Why didn’t you tell me earlier Jae…”

You felt a dip on the bed beside you and you turned to face him. He held your hand gently, “I tried telling you baby…”

“No Jaehyun. That’s not what I meant.” You attempted to calm yourself down by rubbing the temples on the side of your head. “First of all, babe. Why didn’t you tell me Emily has been threatening you??”

His eyes widened and then he diverted his gaze to the bedsheets, “You saw…”

“Yes, Jaehyun. While you were too busy rambling on about Yuta I scrolled through and read the rest of the texts. Humor me Jaehyun. Just why in the world would you let such an ignorant person hold you accountable like that?”

You saw a fire ignite in his eyes as he gazes into your questioning eyes. “She’s not just ignorant! She’s a devil! She’s a person who would use the people I love to toy with me. Don’t you get it? I thought you would understand once you saw the Taeyong situation but you’re still just as oblivious.”

“Taeyong? What’s he got to do with any of this?” 

He scratched the back of his neck in confusion, “Huh? Didn’t you read my other texts with her?”

You squinted your eyes at him, looking just as confused as he did. You saw him shake his head and reach for his phone. “Here. This is why you shouldn’t trust people carrying the Ahn blood in their system. They’re despicable liars.”

“Remember when I had to leave before you made your speech at the grand opening? Well it wasn’t a business errand. I got a call from an unknown caller and a warped voice told me to go to this place if I wanted Taeyong to survive. I was confused but Taeyong is a successful figure and I couldn’t risk having my best friend be in any danger. So I went there, but I ended up in an empty warehouse and you ended up on the media decorated with red paint and beat up tomatoes. Once I saw that there was no question who had done it. She even found out that Taeyong has been helping out with our company finances.” You stared at him, speechless. “So baby,” he took the phone from your hand and filled the empty void with his hand, “Tell me why you let Yuta take advantage of you like that? We don’t need him. NCT can do just fine without their dirty help. After all, you have me and the rest of our friends.”

You gave him a tight smile and lightly squeezed his hand, “Jaehyun… I don’t know what to say. I didn’t know you went through all this… But I also didn’t know you thought of Yuta like that.”

Before you could say anything else, you heard him sigh. He attempted to turn his head away from you, getting ready to leave the room as soon as you brought up Yuta in a good light. Quickly, you reached for the side of his face, turning him to face you, “Babe, he’s one of us. No family. No friends.” Jaehyun looked at you with confusion written on his face. “He’s not Emily’s brother, she’s lying to you. He’s her cousin, or so you would call it, but he was adopted. As soon as he turned 16, his step-father sent him back to Japan because Emily’s father insisted on having her inherit the company when he retires.” 

You saw Jaehyun thinking through what you had just told him. You were about to continue with the story before you heard Yuta’s voice. “I know what you’re thinking. It must suck huh? Having to live with a bunch of rich snobs.” He scoffed, “But don’t fucking pity me. I see it written all over your face Jung.” 

Leaning onto the wall with the dented hole, he spoke with ridicule, “Life was actually great. I didn’t have to live with this drunkard in Gangwon. Instead, I just had to deal with a stuck up princess. As a bonus, Emily’s father even said my blood would taint the honorable Ahn family so he sent me to manage a company in Japan.” He laughed, “But hey, more freedom to me and I’m at my birthplace. So much better than rich people drama.”

Jaehyun glared at him, but eventually, he gave in. “Look man, I didn’t know. All I ever heard was Emily’s bullshit and rumors from the media. And I just wanted to protect-”

You saw Yuta’s infamous smirk. “Yeah yeah you wanna protect your girl. I get it soft guy. Now let’s get straight to the point and stop moping over your little romance issues.” 

Almost immediately, Jaehyun’s sympathy dissipated. “Oh yeah? You think you’re so tough Japan boy?” He was about to get up and teach him yet another lesson but you knew better. Rolling your eyes at the two man-child you had to deal with, you spoke with a loud voice that rang across the room, “Alright you both. Stop trying to prove your dumb masculinity and listen to me.” Both Jaehyun and Yuta shifted their attention to you as you shook your head at them in utter disappointment, “I need the both of you to set aside personal feelings and fix the problem at hand.”

They gave you an ‘I’m listening’ expression and you continued, “Right now, NCT isn’t doing well and is about to be taken over by Emily’s schemes. Also, SM is about to lose its current CEO aka you.” You pointed to Yuta and the smirk was wiped off his face. “So I need you both to work together, and with me, to solve this. Strictly speaking, Emily wouldn’t have had a company to get revenge on if Jaehyun hadn’t built SM as well as he did.” You turned to Yuta, “Just stating facts, not to brag.”

Jaehyun cut in, “Oh no we’re definitely bragging. I’ve got to get the credit somehow, “He turned to glare at Yuta and you rolled your eyes, muttering, “I once thought you were a cool and humble CEO…”

You heard Soojin’s voice as she knocked on your bedroom door and you smiled. “Anyways, let’s start our plan by remembering who holds the most power in the industry. With that said,” You called out to the door, “Come in.”

The door swung open slowly and Taeyong walked in along with Soojin. He smiled brightly and casually greeted the two men. Soojin gave you a small smile and told you before she left the room, “I really am sorry babe. I won’t ever hurt my best friend like that.” You got up and gave her a hug, softly rubbing her back, “All is forgiven Soo, as long as I know you’re still by my side to help me. Now go tell the others.” Suddenly pausing you remembered someone missing in your plan. “Soojin, where’s-” You saw the man appear by the door with his warm smile and you immediately relaxed. “Have fun,” Soojin smiled and quickly left the house to go prepare.

You gave the man a tight hug. “Thank you so much for coming Nana.” 

Turning back to the three men, you clapped your hands together, “Alright boys now let’s bring down a bitch.” They turned their attention towards you and you smiled proudly, “My most trusted partner have devised a solution to fix this mess.” You gestured toward Jaemin and Jaehyun’s face quickly darkened. 

“What the fuck.”

———

• I’m back after my holiday break! • 

[popwasabi]

“The Matrix Reloaded” deserves a re-watch in 2020

Here’s a burning hot take for, y’all; “The Matrix Reloaded” is not bad actually!

In fact, it’s more than not bad, it’s actually pretty good and perhaps a bit misunderstood by the fans.

Now, I’m not here to tell you it’s the best Matrix film. That honor will remain always and forever with the first movie, as it remains not just one of the best action films of all-time but one of the best science fiction films ever, period. It’s a classic and simply one of my all-time favorite films.

(Not to mention turned me into a Rage Against The Machine fan.)

But somehow, over the course of my lifetime, you know what movie I have watched exponentially more than “The Matrix?” The fucking “Matrix Reloaded!”

I used to think maybe it was an ironic infatuation. To a certain extent, I think it still is, as its overly indulgent action, bad lines at times, cringey new characters, and over the top moments can make it about as comical as many so bad it’s good movies. But growing up time can change perceptions, sometimes for the better, and can help you see things in new ways that you didn’t before and “The Matrix Reloaded,” especially this year, was one of them for me.

(My plans vs 2020)

I could defend the much controversial sequel by going in on its ambitious action film-making (the car chase is still my all-time favorite in any movie), pulse-pounding score, or its eye-popping cinematography that, honestly, holds up even to today’s standards but I think these are all things that even the film’s detractors generally agree on. 

No, I’m going to defend this film by talking about its most controversial scene: The Architect room.

I can hear the groans already and I don’t blame you. I found this scene preposterous and mightily confusing when I first saw it.

“The One is actually a part of the Machines’ system?? WTF!?”

(I remember having a similar feeling after playing Mass Effect 3...)

To be fair, its set up is a bit muddled, given the clunky script and pacing issues of the movie but when you start thinking about the message more deeply, given current events, and its relation to the real world it hits about as hard and fits as neatly as the first film’s more positive message.

The first Matrix film has a pretty dark setup, obviously. Neo finds out that he’s a part of gigantic computer program meant to create the illusion of free will for humanity while they are quite literally eaten for power by the Machines like cattle. Of course, Neo discovers he’s more than just another human connected to The Matrix but a prophesized messiah who has the ability to combat the system beyond its considerable control. By the end of the film he fulfills his destiny by becoming The One and beginning a new revolution against the Machines that control the human race.

(And looking fucking cool and totally 90s while doing it!)

It’s a pretty positive and uplifting story when you really break it down. It shows the viewer the lengths at which power tries to maintain its control and the Machines are a worthy avatar for this metaphor, but it also shows that power can be fought against when someone begins to empower themselves. When Neo says he will “show you a world where anything is possible” at the end its an earned moment of catharsis for not just him but the audience as well. We begin to start to believe in hope and beating the system too.

“The Matrix Reloaded” however goes several steps further showing that power can maintain its control in far more nefarious ways. Throughout the film Neo is told about the illusion of control and choice by characters like The Oracle and the, admittedly cringey, Merovingian. It feels strange at first because Neo is supposedly someone who is above the system but you can tell there is sense of jadedness, with some optimism of course, when The Oracle explains his role in saving Zion, like someone who has seen someone try to do this before, and The Merovingian simply mocks him for being another in a long line of “predecessors” who is completely “out of control.”

But then Neo finally does get to the Architect after being led there by The Key Maker and it’s here he learns his true nature; that he is the sixth in a long line of previous “Ones” in the Matrix and a part of The Machine’s control. He is less a prophet and more just another cog in the machine meant to lead humanity in one direction over and over again in order to create an illusion of free will for the resistance, the same way The Matrix does its human cattle.

Neo was a part of their plan and had been from the start.

(In case y’all need a refresher...)

There were tons of fans, including myself at one point, who couldn’t square with this strange narrative turn. Like Morpheus at the end of the film, there was refusal to believe it. It seemingly rewrote how one could view the first film and Neo’s role in it.

It changed the way a lot of people could see the positivity of the first film and understandably that could, and did, make a lot of people upset. Neo wasn’t sent to save humanity; he was there to keep them in line. It was like saying “actually Emperor Palpatine always wanted Luke Skywalker to blow up the Death Star.”

(I mean he does say this a lot though...)

But “The Matrix” was always about the lengths at which power works to maintain its control over the masses and “Reloaded” asks how can a corrupt and evil system be a part of the solution? How can it be reformed?

It can’t.

Way back in 2008, I cast my first vote as an eligible American for Barack Obama for president. Like many millennials at the time I found his mantra of “hope and change” sincere and uplifting and I truly felt the country was going to take a turn for the better the night he was inaugurated. For a moment it really did feel like things would be different after eight years of Bush.

Fast forward to 2011 however, and things changed dramatically for myself when I found out about the drones.

I’m aware of the fact that in leadership positions hard choices are made but after spending the previous decade vociferously calling out the Bush Administration for what they did in the Iraq and Afghanistan Wars this was a truly rude awakening for me. Combine this with finding out about him continuing Bush era tax cuts, re-upping the Patriot Act, the mass deportations, the major corporate donors, his mishandling of Flint, and The Standing Rock Crisis it became clear Obama was just as much a part of the machine as Bush was.

(Also, no matter how much you hate Trump, DO NOT participate in the the gas-lighting of this man’s record...) 

Now, I can already hear the pitchforks picking up and I’m not here to tell you that the Obama presidency didn’t have its moments or that it was worse than what we have now BUT this does not excuse what would be considered awful behavior by liberals under any conservative president.

Each Democratic presidency or nomination I’ve seen in my lifetime, from Clinton to Obama, has always touted themselves as a chance to “fix America” and bring “hope and change” to a largely corrupt system. But neither of these presidencies really changed much of what the previous conservative administrations did, in fact in some ways they got worse. Minimum wage hasn’t risen in over a decade, we still have the world’s largest prison population by far, the wealth gap has only INCREASED regardless of who held the White House, and need I remind some of you Black Lives Matter started under the Obama administration.

At some point the problem goes beyond just conservative stonewalling and political impasse. You can’t blame everything on Mitch McConnell (though a lot of it can too, admittedly). The system is behaving exactly as its supposed to because corrupt people hold power.

(They’re not laughing with you, they are laughing AT you...)

The extremely cynical Biden-Harris ticket we got going right now is being pitched, more or less, the same way as a "fight to fix everything terrible” that Trump has done. Look, I’m not going to tell you Trump hasn’t been terrible because that should be obvious to EVERYONE at this point, but when you have Wall Street goons actively cheering the announcement of the Democratic party nomination, a DNC that is running more conservative speakers in its first day than Latinx across the entire event, you have to wonder to yourself if they are really “The One.”

(A reminder that “Never Trump” Republicans are not your friends either...)

Again, I’m not saying things can’t be “better” right now under a Democratic White House or that some communities would benefit greatly from a change in leadership BUT the bar is FUCKING LOW and the truth of the matter is people WILL be hurt under the next administration regardless of who it is and framing it as “privileged” to think otherwise is actually quite privileged itself.

There are people who can’t wait for medicare for all. There are people who can’t wait for sentencing and prison reform. There are people who cannot survive another wave of US imperialism overseas.

We are being guided to the same predetermined destination that The Architect gives Neo and its what makes all this so aggravating for many.

“The Matrix Reloaded” shows Neo that he is simply another system of control for the afflicted masses but what makes the final moments of the film important is that he chooses to stop playing its game. When The Architect gives him the choice of the door that guarantees the “salvation” of the human race but in bonded servitude to the Machines and the door to make the supposed “selfish” decision to save Trinity from death but doom humanity to extinction, he does this fully expecting Neo to make the same choice every other One did before him did.

But Neo doesn’t, he goes through the door to save Trinity and for a chance to destroy the system in another way. Neo decides to break the cycle even if it might have catastrophic consequences. He challenges The Architect on whether he would be willing to allow Neo any chance at any other outcome and calls his bluff. It’s what makes him a hero and in a strange way gives “Reloaded” a positive ending as well.

(And again, just looking cool as hell while doing it.)

Now, with the way the next movie ends you could make the argument that the cycle continues and this theme gets contradicted but I would argue it’s a bit more ambiguous than that and with the fourth film supposedly on its way in the coming years there is a chance for a more conclusive and satisfying ending. This write-up is strictly arguing the message of the second film anyways.

What a viewer should get on further review of “The Matrix Reloaded” is that corrupt systems have more insidious ways of maintaining control than we may be able to accept. Wall Street goons wouldn’t allow a consistent formidable opposition party to run against them every year, it’s why they are deep in both red AND blue pockets. It’s why campaign financing is out of control. It’s why ultimately both wings of our government are pro-surveillance, pro-big money donors, pro-US exceptionalism/imperialism and the only real difference comes down to mostly minor minutia between the two to maintain their illusion of choice.

In the end to a certain extent, I still believe in the system, given that I donate money and support various leftist causes, progressive primary challenges, and reelections around the country in hopes they run a real left wing someday. However, each year, and frankly each month at the rate we’re going, I’ve grown more cynical about it. At best it is incremental change and at worst its ultimately empty power against the larger juggernaut of corrupt politics throughout our government.

(Me desperately trying to avoid the relentless bullshit of this year.)

“Reloaded” deposits that in order to break the cycle you have to make a choice not accounted for by the system. That in order to truly change anything, as silly and as obvious as it sounds, you have to do something different. Voting for people who better represent your beliefs much more fully and refusing to vote for ones who don’t is one way but as I stated in my “Black Sails” write-up the more active third option should never be off the table.

Changing the world shouldn’t come down to a false binary choice like the ones the Machines gave Neo at the end of “Reloaded.” And while, for the record, I’m not necessarily against people making the lesser of two evils choice again, people need to stop ignoring the ways in which corruption keeps its power and start having honest looks at those who call themselves “The One” who will make things right.

If this entire year hasn’t convinced you of that yet, I don’t know what will and the sooner we understand this the sooner we can start a real “revolution” in this country’s cynical politics.

Until then The Machines will continue to win...

*Me getting away from the liberal bullshit that will likely be tossed at me over this*

[andcurioser]

So. Let’s talk about Veronica Mars. *deeeeeeeep sigh*

Ok, friends. It’s been a goddamn whirlwind for me. I actually went to the Veronica Mars panel at Comic Con, which I thought was a highlight at the time. They screened the first episode before the panel, and I was all ready to report back to you all that it was real good and to get excited for the new season, but then Hulu had to go and drop the whole damn series during the CC panel, which was a STUPID thing to do (or, at the very least, an extremely stupid thing to announce to the panel at Comic Con - the exact people who would not be able to watch it until after Comic Con, putting them at risk for some really big fucking spoilers. It’s genuinely surprising to me how little the people who are in charge think about these things. If you want to do a surprise drop (which, why, but whatever), sure, go and do it, but definitely don’t announce it to a room full of people who can’t enjoy it and expect them to be excited??). But regardless. That was just a wtf moment. I was still filled with enthusiasm and excitement and happiness that this show was back and seemed to be in good form. 

Oy. 

Cut to Tuesday morning. I got back from Comic Con on Sunday night, and life goes on, so of course I hadn’t watched 8 hours of TV by Tuesday at 7AM. Which is precisely when my dear friend, whom I adore, but who is apparently an idiot, texted me about how terrible that VM ending was and how upset she was. Now, because I’m a good friend and I know what she likes and we’ve discussed VM at length, it took me all of four seconds to know the gist of what happens in the end. I didn’t know the how or why, but I certainly knew the what. Cue fun spikes of anxiety and random bursts of rage, because what the fuck. Truly, what the fuck. But I placed my certainty at 99% and hopelessly clung to the 1% chance that I was wrong, knowing full well that I wasn’t. This obviously completely stymied any excitement I had for the show, and I dragged my heels for a full month before finally finishing the goddamn show just to get it over with. And now we’re here. 

I’ve had a month to ready myself for what I knew was coming. It was both a blessing and a curse, since while it pretty thoroughly ruined my good time, it also meant that I wasn’t totally blindsided by that ending. And man, I would have been blindsided, because there was Z E R O reason for that. None. And now I’ve read all the articles in which Rob Thomas tries to explain his reasons, and they’re all nonsense. Absolute idiocy. All I see is a guy who always, always resented the fans for loving a character he didn’t want us to, who tried and tried to redirect us to one of his preferred creations without success, and just when I thought he’d finally accepted defeat, he pulls the most nonsensical of fuckery just to finally win the battle. Fuck you, RT, forever and always. I can’t fucking believe that I allowed myself to think you’d finally seen the light. What a ridiculous fool I was for giving him the benefit of the doubt. 

Since I knew what was coming, I could look for the signs all throughout the season. So I searched for foreshadowing, or at least a narrative through-line. And let me tell you: there isn’t one. The season finally, rightfully seems to address Veronica’s deep-set trauma and trust issues but treats them like a problem and not a secret superpower, and it seemed like the show might expect Veronica to grow up along with the viewers who’ve aged 15 years since the first season? I was excited to finally have Veronica be the problem in a relationship, frankly. It was hinted at with Piz, but glossed over because there was only so much time in the movie, but it was realistic for her to have some trouble adjusting to a long-term, committed relationship, and I was excited to see that journey! I thought it was such an interesting path to go down, watching Veronica grapple with what she wants (or maybe just thinks she wants) vs. what she’s always known, or thought she knows. Lots of stuff there! Good stuff! And you get all the way to the end, when she’s finally decided to try. It isn’t fixed, it isn’t perfectly, she’s definitely got a long way to go, but she’s taken a few tentative steps into an uncertain future. And all of a sudden, quite literally, boom. It’s all gone. 

Listen. I was never going to be a fan of getting rid of Logan. However they chose to do it, it would always feel wrong. I have never trusted Rob Thomas to handle Logan well, because he’s always had this undercurrent of anger in every interview I’ve read, this frustration that people love and respond to Logan when he wanted them to love Duncan! Then Piz! Then anyone else! His creations took on a life of their own, and RT hated it. RT was one of the ultimate examples of writers/show runners who were simply watching a completely different show than the rest of us. I could never understand how he wrote such interesting stuff for Logan but didn’t want us to root for him. It never made any sense. But I didn’t think he would sabotage his own show this thoroughly. 

Because here’s the thing: I was never going to like him getting rid of Logan, but I could have understood it. I could have gone along with it if it had been done right. Frankly, the way it was building, it wouldn’t have been a surprise, nor would it even have been a bad choice, to have Logan break up with Veronica at the end of the season. And if RT couldn’t handle Veronica not being the aggressor, fine, make Veronica do it. She decides she isn’t willing to put in the work to change that Logan needs from her, and she ends it. Fine. Could work, at least for a few seasons. Let her deal with the loss, knowing it was something she chose, and see how it affects her priorities as she continues on. Certainly could be interesting! 

You know what isn’t interesting? This. This is the only - the ONLY - plotline that’s a watered down repeat of a previous story. Veronica Mars, traumatized and hardened by the shocking loss of someone close to her? Quite literally, been there, done that. I know RT has been trying to recapture the magic of season one for every season and iteration since, but just repeating the storyline? Really, really missing the mark. There isn’t anything new that can be added to this. We’ve done this. This will only ever be a pale imitation, a tacked-on sequel hitting the same beats with less force. Lilly was a fantastic inciting incident that yielded a tight, well-thought-out season arc. But why would we want to start over 15 years later? What’s to be gained from this? Literally ANY other ending would have yielded multiple storytelling options, branching out with so many possibilities on where the characters could go. This is the only one that simply slams doors shut. 

The few supporters of this ending I’ve seen around the interwebs keep saying things like “this show wouldn’t work if Veronica was happy!” Hell, Rob Thomas is saying the same thing. And to that idiocy, I can only say 1. of course it would, if you write it well, dumbass, and 2. if you think Veronica getting married immediately = happiness, well, what the hell show were you watching? The marriage, much as it could represent a step forward, was still VERY CLEARLY a huge, impulsive jump that was more a reaction than a measured decision. And that was something I was looking forward to seeing. Fresh off of a near-death experience and a renewed assurance of her love for Logan, Veronica marries him thinking that’s the end of their troubles, only to realize that it’s just another complication. Now Veronica has to deal with the new experience of having no quick exit strategy. All the problems they had throughout the season still exist, thinly covered by the veil of newlywed bliss, and she has to reconcile her happiness with her frustration and uncertainty. Logan still disappears at the drop of a hat because of his job. She still puts herself in danger for the case and uses loved ones and acquaintances alike to her full advantage. They hide things from each other. They love fiercely, they trust the other with their own lives but can’t trust each other to take care of themselves. Doesn’t this sound like a complicated, tumultuous relationship full of narrative possibilities? 

Well, forget it, because why break new ground when you could retread old storylines? Yeah, that’s what we all want. Great job, RT. So smart. 

Something that keeps bothering me is that if RT didn’t want Logan around as the happy husband at home but didn’t want to write more relationship drama between them? He already had the perfect excuse to ship Logan off for entire seasons at a time. Look, Logan’s deployed, oh no, he can’t even skype, he’s undercover! Cool, problem solved. No more Logan, but in a way that still maintains possibilities for the future should we want them. Ideal. Again, options. All you want are places for your narrative to go. Multiple roads it could take so it doesn’t become predictable. 

This is predictable. This is boring. This is trite. Our heroes, struck down in their highest moment of happiness. Holy fuck, it’s dull. It doesn’t feel edgy. It feels derivative, a tired rehash of a narrative structure that should have gone out of vogue ten years ago. The whole thing just exhausts me at this point. 

And I’ve read Rob Thomas’s justification for why he did it. They’re all flimsy, but if he wants to go do a Sherlock-style, Ms. Marple mystery series, flitting in and out as he pleases, fine. It won’t be the worst show in the world. Veronica’s still a fun and interesting character, and I’ll always enjoy watching her. But removing her from Neptune, and more importantly, removing her from all of her meaningful relationships, takes away what made this show special. The new version RT is pitching could be fun enough. But it’ll still be just one in a long, long line of mystery shows that don’t have much claim to my emotional investment. I might watch, but I’ll forget about it the second it’s over. It certainly won’t be the kind of show with a fanbase that will still be interested in watching more 15 years from now. Rob Thomas won’t be getting one of those again. 

So yeah, that’s that. I have much more to say, but really I just wanted to get this rant out so I can put it all behind me. I learned long ago that I can’t trust shows and showrunners, and it’s a lesson I learned partly, if significantly, from Rob Thomas. I suppose it’s on me for letting my guard down, but I guess my hope got grandfathered in from an age when I didn’t immediately mistrust the things that were supposed to make me happy. I’ll know better next time. 

[williamaltman]

Madoka Magica Rant: Rebellion, the original ending, the (im)possible sequel.

Ugh. I love Madoka Magica so, so, SO much, and I can’t help but rewatch it many times and watch all the reactions people make. But as I go towards the ending, I always get depressed... Because of fucking Rebellion. This reactor I’m watching right now doesn’t even know and/or talk about it on his reaction to the last 2 episodes as some others do, but I’m dumb and went to read the comments, and of course people there are talking about how there’s a movie. I love the ending of the anime so much. It's literally perfect to me. It’s bittersweet on a way that both the bitter and the sweet feel so satisfying, and it’s just such a good ending narratively. Yeah, it’s not perfect for the characters. Yeah, Homura doesn’t really get what she wants at the end. But it solves all the narrative threads, it gives closure to everything and it just fits both temathically and tonally with everything. That’s what makes it so good. You can see how that was the ending that the whole rest of the anime was made with it in mind. It’s not what you expect but it makes so much sense and it’s not done based on how surprising and shocking it is. The whole anime acts as build up to it, and all of the logics that make it posible are seeded throughout all the episodes. Meanwhile, Rebellion... That ending wasn’t even what it was originally meant to happen. It was just supposed to be Homura’s farewall, as it was foreshadowed on the end of the anime when Madoka says they’ll meet again. They came up with that as a way to leave the franchise open for a continuation. Aka for money. Except that it has been over 6 years, and... Nothing. And now everyone has already gotten used to the Rebellion ending being the definitive ending... Oh, and as an in-story justification, also because “becoming a god at 14 is too much!” or something. Yeah, of course it is, that’s what makes the ending so big and impactful. I can’t believe they changed it on a whim like that. Artistically and technically, Rebellion is amazing. It looks incredible, it must have been an amazing experience to watch it on 3D on the theathre. But, writing-wise, it’s not as good and tight as the anime. As I said, the anime had a logical explanation for everything that happened. Rebellion has “Ai yo!”. And witches being extinguished is also the best solution for the dilemma of Madoka becoming a witch if she makes a wish, but if she doesn’t walpurgisnatch destroys everything, and Homura has to go back in time but if she does she adds to the karmic destiny making Madoka a worse witch, but if she doesn’t she goes into despair and becomes a witch herself. Meanwhile the ending of Rebellion is not necessary and doesn’t act as a solution to the rest of the movie. There’s also the fact that, the whole universe being rewritten and changing status quo all the time is a bit “...Seriously?”. When it happens one time, because of one wish that has to be fullfilled, it makes sense, and feels impactful. When it happens again, solely because a character somehow has the power by herself to do it, it’s less impactful and cheapens this element. “The laws of the universe being rewritten, as a way to show how big the consequences of a miraculous thing was? Yeah, but that can happen multiple times anyway, lol!” Oh. And of course. I didn’t even begin to go on about how that ending literally erases Madoka’s entire character development... I literally go on every day hoping that they start making this damn 4th movie and we can get a better ending. I don’t know what exactly they can do this time. It’s gonna involve some sort of ~laws of the universe changing~ shit again, and it will be even less impactful, but at least it can give a better final status quo than the current one. The only thing I really want is for Madoka to get back her memories and go back to her old role, instead of making everything that the original anime and her character led to, pointless. But who knows if it’s actually gonna be satisfying. I know Urobuchi wrote Rebellion too, but the idea to make this ending came from the director, and if he thought he should change things on a whim because “Let’s leave it open for a sequel” and “Well, a young girl becoming a god is too much, let’s just undo that even if the entire anime logically led things to that point”, will he just let a new writer get things back to the previous state? And even if it was Urobuchi... I don’t know. He planned the anime so well, but even Rebellion was already more than he wanted to do. It was just supposed to be an extra thing, just showing something that by watching the original anime we knew would happen. And now there’s a whole new world and he would have to, like... Create another different ending. After making two others already.  This situation literally pains me so much because I genuinely think of Madoka as... The best thing ever. Like... There are so many things that I feel emotionally attached to, but I know aren’t technically that good. And things that I can recognize are incredibly well-crafted and extraordinary, but that don’t resonate emotionally with me. Madoka is like the ultimate story that combines both. And at the end of the day it makes me so frustrated. And the worst is that I have this feeling that it shouldn’t have to. Because something that completely satisfied me was done, was meant as the end, and then it just got undone. So I got robbed. And, somehow, no one else seems to feel the same. It’s so hurtful to see so many people out there saying they prefer Rebellion, and Rebellion is the real ending, and Rebellion is necessary and, and... To me it could never be. I understand that it’s because most people came in contact with the franchise with it already existing and so, watching the 12 episodes and then it was what they always experienced as the whole thing. But that just makes me even sadder. And so I’m here frustrated and alone. If I had a soul gem it would already be a grief seed... All I can do is try to rationalize this whole thing of, like... Madoka Magica, the anime, the 12 episodes, is complete thing. Rebellion is on a series of movies. It’s the continuation of them, not of the episodic anime series... The movies are different, Sayaka doesn’t have the hairpin as a magical girl, for example(yeah, it doesn’t work very well. Especially cause the fandom thinks of it as “12 episodes + Rebellion”, and tells everyone to watch it like that, and says to people reacting to the anime to watch Rebellion after it as a direct continuation... Sigh).

[wholesomeklei]

Japan Sinks: 2020 freaking sucked, but in a way that was almost good, which is arguably even more frustrating than it being straight-up awful.  Like, there was this good show struggling to get out, but it just couldn’t quite break free of all the crap.  Sorry, has to get that off my chest.  I’m done now.

...Never mind, I’m not done.  Spoilers below the cut.

Here’s a list of my major grievances with the series (there are more, but this got kind of long):

There was almost no chemistry between the characters.  A lot of the story centers around this family and a handful of tagalongs, but you hardly get the sense that they care about each other at all.  Emotional crises about character death (of which there is a LOT; more on that later) go barely-addressed, if they indeed happen at all.  One of the earliest deaths involves the father getting literally blown to bits in front of his family, and then they skip ahead to them moving on in the next episode.  The only one who still seems even remotely upset is the teenage girl.  Not even the little boy seems bothered; I don’t think I can remember him crying a single time in the entire series.  I get what they were TRYING to go for - the mother is upset, but she’s trying to stay strong for her children because she knows that stopping to mourn could get them killed - but instead it just comes across as all of the characters being robots except for the teenager.  I think one of the problems was that there’s not much depth of emotion in the facial expressions.  Almost nothing is expressed through animation that isn’t expressed in words, so if the characters aren’t talking about how sad they are, you have no idea.  Another character dies pretty unceremoniously in a way that’s clearly intended to make the teenager feel guilty despite her not technically being responsible, but they just leave her body behind, and she’s practically never brought up again.  Speaking of...

There aren’t any long-term consequences for any of the things they build up.  Early on, the teenage girl offers to share some of her water with an elderly couple, who proceed to take the whole bottle.  It was a really good, realistic scene, and it leaves you thinking, “Shit, that’s gonna come back to bite them in the ass later!” and it never does.  They find more water almost immediately.  Additionally, throughout the series, there’s also this looming threat posed by a cut on the teenage girl’s leg that’s clearly becoming more and more infected over time - the camera is constantly lingering on this injury like it’s gonna be a big deal - and it doesn’t become a real issue until after they’re rescued.  And even then, you think you’re in for some real emotional drama when the doctor says they have to amputate - the teenager is a relay racer, so losing her leg is a big fucking deal - but the next time you see her, we’ve already skipped ahead to the part where she’s running relay races with a prosthetic.  Like, that’s great and all, but come ON!  You spent the WHOLE SERIES building to this, and you can’t spare a couple minutes to let us feel anything?

We get almost zero insight into the backgrounds of most of the characters.  Like, we already know most of the family’s deal from their introductions in episode 1, but then they give us all these tagalongs who seem like they COULD be interesting people (an older girl who seems to be a friend of the family, a stoic former athlete, a paragliding Youtuber, an old man who does archery, and an obnoxious magician), but they almost never expand on any of it!  The older girl?  She dies unceremoniously and is mentioned maybe one time after that a few episodes later.  The stoic former athlete?  He finally breaks down in tears at one point about how he watched his mother die in front of him only for the rest of these seemingly heartless assholes to continue on with their dinnertime conversation without giving this dude so much as a comforting pat on the shoulder.  The Youtuber?  It’s briefly hinted at the end that he’s a trans guy in a blink-and-you’ll-miss-it moment of his younger self in a skirt (from a distance, so it’s hard to notice) with longer hair, but other than that, we have almost no insight into who he is as a person, what got him interested in flying and Youtube, etc.  Speaking of which...

The Youtuber is basically a living deus ex machina who exists only to occasionally disappear and inexplicably reappear with no explanation and some supplies to save the day.  His habit of constantly saving the day combined with the fact that in a cast of characters with realistic hair colors, he’s the only one whose hair is white (and it seems to be natural, not dye; his younger self also has white hair, and at no point in the series do his roots start to show) makes him feel more like somebody’s self-insert OC than a real person.  He even pulls a heroic sacrifice to save the characters at the end only to mysteriously wind up alive in the stadium to watch the teenage girl do relay post-amputation with zero explanation.  Like, don’t get me wrong, I’m glad the trans guy survived to the end, but could you please tell us HOW?

The time that could have been spent on character development is instead spent on a pointless cult subplot that lasts way too many episodes, accomplishes almost nothing except letting us trade in the racist archery grandpa and the annoying magician for the paralyzed savant who saw the disaster coming (again, these brief character descriptions make them sound much more interesting than they ultimately wind up being).  In yet another plot point with lots of build-up and no follow-through, we wind up in a peaceful, too-good-to-be-true cult where they put weed in everything and worship a lady claiming to be able to speak with the dead.  Are they using the drugs to manipulate people?  Is this some kind of cannibal cult where they use pot to cover up the taste of people?  Nope!  The twist is that the cult was genuinely a nice place, the leader’s powers are 100% real, and the drug stuff is completely inconsequential.  The final episode of this arc winds up being unintentionally hilarious as a bunch of characters get killed off in ways that are either overly anime for what was previously a relatively grounded show, or die in a realistic manner that’s nonetheless animated in a way that makes it completely hilarious.  I literally laughed out at the death of the cult leader’s child.  Like, I understood it was SUPPOSED to be sad, but it’s just so sudden that it winds up being hilarious.  One minute he’s standing there, and the next, BONK!  Death by ceiling chunk to the head.  (This is why most deaths by crushing/impact from above tend to be animated in a way that obscures the character’s face, BTW.)

There are too many character deaths.  There’s a big difference between “anyone CAN die” and “almost everyone WILL die.”  The first creates genuine tension, because you truly never know whether or not a character will survive a dangerous situation.  Allowing you to feel hope that a character could pull through makes it all the more impactful if they don’t.  Unfortunately, Japan Sinks: 2020 goes too far by practically killing off one character an episode, which winds up ruining the tension by ensuring that you never get attached to these characters (which you were already struggling to get attached to due to their complete lack of emotion).  Dangerous situations are no longer tense because you already know from the time the character enters them that they’re probably gonna die.  (Unless they’re the Youtuber guy, in which case a nuclear bomb could go off, and they’d just reappear two episodes later with no explanation.)

The show just doesn’t know what it wants to be.  It starts out really grounded and realistic, and it leads you to believe that this is going to be something truly incredible, but after about four episodes, you start to realize that this is just The Walking Dead without zombies.  Worst of all, it’s Telltale’s Walking Dead (the sequels, not the first one) where almost none of the choices the characters make actually matter.  They try really hard to salvage it at the end, and it NEARLY works.  Episode 8 (where they’re stuck in a life raft without any food or water for the first half) was almost worth the previous 7, but it’s just not enough.  You still know exactly when characters are gonna die, and it’s too late to get invested.

[bladekindeyewear]

HS^2 bloggin’ mainline 2020-02-24

IT’S ONLY BEEN TEN FUCKING DAYS HOW OFTEN ARE WE GONNA GET THIS STUFF

IT’S NOT EVEN A BONUS IT’S SOME MAINLINE THING

Alright, clicking the log to find my place as usual (while squinting so I don’t see too much), I see... one new page... THAT’s ominous.  Unless they’re doing the thing Andrew used to do and only showing the surface link so as not to spoil the update length/contents in the log, which would be nice given the new site format.  (Also I’ll be covering the commentary for the previous chapter here that went up on Patreon.)

...um.  what?

Well, it doesn’t say [S]...

> Chapter 5. YOUR 3Y3S H4V3 B33N CLOS3D

CONTENT NOTE: This chapter contains Discussions of Suicide.

Thanks.

...I kinda understand the need for inclusion of this, though.  Not the trigger warning, that’s genuinely appreciated, I mean the working-through of many of these characters’ probably suicidal-verging thoughts given the bullshit the Epilogues have put them through, and the leadup events thereof.  Or, from the looks of this page trying to lay out how to create these new alien races, clearly based in part on pages of her Zoologically Dubious grimoire...

...the creations THEMSELVES wanting to commit suicide, if I had to guess.

(Hooves?  Dirk.  Don’t let this become a Musclebeasts VS Horrorterrors session.  Whoever wins, we clearly lose.)

*scrooooll*

Ohh, I get it.  It’s a single really long-form story-image to montage the process to us, instead of a series of panels.  THAT’S why it’s a one-page upd8.

What are you clowns doing?  (And that architecture and teal road below it is looking kind of Land of Thought and Flow-y too.)

Hah, poor Rose, just float-noping on out of there cause Dirk’s pushing his whole Cave-shadows-on-the-wall allusion.  Are you getting bored of this monstrous process, Rose?  Yes?  No??

Taking a floatwalk across the gorgeous alien landscape?  (Wait, your robot floats without rocket boosters? Neat. Is that technology or God-Tier flight? Did it need to be a fancy robot to integrate the latter or was that just yours for free?)

What will she run into to make sense of the title of this chapter-panel?

...Wait.

Did Terezi run back to the ship to snoop on that thing Dirk had been hiding while he and Rose were distracted?

I hope that’s what she did.

Eeeewww.  It looked MUCH cooler when your human eye did a magic sun thing.

Yes, yes, you have a technosight HUD, that’s no excuse, your magic was still cooler.

The whimsical wandering angle of this shot makes it unclear whether Rose is flying ahead while looking into the sky, or has suddenly flopped forward onto her face on a pale patch of ground.

Ooh, and now we have text! ...Which makes it unlikely that Terezi successfully snooped anything important unless Dirk would narratively let her.  Shit.

Wait, the command for this page might make sense if she was using the command terminal in the ship to mess with Dirk or someone else, possibly to give her the opportunity to pull something.  Right?

The soft whitenoise ringing of the extensive ventilation network sounds, if she closes her nose just right, like the rustle of wind through the leaves of a treehive universes away.

...closes her nose.  ¬___¬

but Terezi isn’t distracted from the main object of her focus — the unconscious body of Rose Lalonde, bathed in dim light, chest rising and falling in an artificially-induced slumber.

Good.  Her body had better fucking stay alive for a while.  They killed Davebot’s outright, since he was an “extra”, essentially -- Rose’s needs to stay alive if we’re to have fucking hope that Kanaya can snatch her up in a comfortable non-robotic embrace and get her out of this self-centered, brainwashed nightmare.

Wires and tubes run up from her plinth to the ceiling of the chamber, keeping her alive, yes, but too much just for that purpose. Something about the tangle of intravenous tubing and fiber optic cable makes Terezi think of the old stories about the Ψiioniic.

Mhmm.  She has to stay connected to and pilot her body.

ROSE: There you are. I haven’t seen much of you. TEREZI: IV3 B33N R1GHT H3R3 FOR HOURS TEREZI: BUT YOUR 3Y3S H4VE B33N CLOS3D TH3 WHOL3 T1M3 >:[

--Oh.  I’d misremembered the chapter name as “your eyes are NOW closed”.  So it probably wasn’t some sort of trick.  (Unless she’s lying here, and tricked Rose into THINKING her body wasn’t kind of half-awake for a moment, potentially rebelliously? .....nah.)

Better question, though...

Why does Terezi care so much?

I can imagine the old Terezi getting attached enough to Rose (and Kanaya) to look at this and feel bad enough to stare, but...?  She used her emotional distance from most of her remaining friends to vamoose with these people a long while ago.  (Which was a pity.)  How did those feelings and that empathy get resurrected way out here?

Rosebot turns her head to look back at the frail, failing vessel that once housed her consciousness. She doesn't even dispatch a fake laugh to her behavioral display matrix in pity of this half-joke.

Fuck you.  Dirk is writing half of this.

ROSE: Your attachment to my comatose body is unexpectedly charming, as well as slightly sinister. ROSE: She isn’t going to do anything. ROSE: She isn’t coming back from where she’s gone. TEREZI: YOU N3V3R KNOW

Does Terezi really care about Rose that much now?

Also, fuck you, Dirk-manipulating-Rose’s-worldview.

I mean, I know she’s probably really deep into all her new power and foresight, even as herself, but she wouldn’t be nearly as dismissive and comfortable if Dirk hadn’t been shaping her with mind control for years.

ROSE: Yes, I suppose that’s true. ROSE: Anything can happen, you can’t see the future, etc. etc. ROSE: Except I can. I can see the trajectory the story needs to take, and thus I know the trajectory it will take. ROSE: And resurrecting my meat puppet would not only be difficult to the point of being worthless, it would also be extremely lame. ROSE: Not that it would be out of character for this story. We live and breathe on the stupefyingly mind-numbing, and the mind-numbingly stupid.

They’re REALLY pushing her as a full fucking villain here.  Benefits of transcending human flesh aside, she’s being WAY too dismissive of what she’s leaving behind, here.  What came with this body besides the body itself.  The attachments and Blood it means relinquishing and severing.

TEREZI: 1F WH4T YOU'R3 S4Y1NG 1S TRU3 TEREZI: 1F 4 STORY H4S TO B3 COMP3LL1NG TO B3 C4NON TEREZI: DO YOU R34LLY TH1NK D1RK 1S TH3 TYP3 TO T3LL 4 COMP3LL1NG STORY

A compelling story, yes!

But a heartless one.

TEREZI: H1S T4ST3 1N 4N1M3 4LON3 1S CONC3RN1NG TEREZI: 1 D1D 3NJOY TH3 ON3 4BOUT TH3 HORS3S THOUGH ROSE: I don't think that counts as "anime."

MLP is pretty colorful.

TEREZI: PL4Y1NG W1TH 4 WHOL3 WORLD L1K3 1T'S SOM3 K1ND OF SQU34KY LUSUS TOY DO3S SOUND L1K3 1T H4S 1TS MOM3NTS TEREZI: 1 M34N TEREZI: MY FR13NDS W4NT3D TO RUL3 YOUR L1TTL3 WORLD 4S P3TTY TYR4NTS 4FT3R W3 WON TH3 G4M3 OURS3LV3S TEREZI: BUT DO YOU TH1NK TH4T WOULD'V3 B33N FOR TH3 B3ST FOR YOU 4ND 4LL TH3 OTH3R M4MM4L14N W31RDOS ON YOUR PL4N3T >:/ ROSE: It didn't happen because it didn't happen. TEREZI: 1F 1 H4V3 TO H34R ON3 MOR3 T4UTOLOGY FROM 31TH3R OF YOU 1 4M GO1NG TO MOV3 TO TH3 WOODS 4ND PL4GU3 YOUR N3W SOC13TY 4S 4 H3RM1T BOG MONST3R FOR3V3R

Rose has stared into the sun so hard that she is LITERALLY BLIND.  “It didn’t happen because it didn’t happen” is the worst, most basic and wrong level one Seer of Light thing she could possibly believe.  She has completely fucking FORGOTTEN that she played through an entire game session that was clearly trying to TELL her something.  TEACH her something.  And is dismissing everything at play back then, everything that MADE reality and the final timeline what it WAS, as something at worst meaningless or just plotpoints in a subpar story, and at best a failed moral tale that she thinks she would write better in her sleep.  She’s like... worse than inverted Rose right now.  Where’s all this new Lighty wisdom she’s supposed to have?  Jasprose is showing more foresight and prudence in the bonus chapters than she is as a PURE ultimate self, thanks to her own twisted ambitions and Dirk’s horse-blinders.

TEREZI: JUST B3C4US3 YOU'V3 3L3CT3D TO 4B4NDON TH3 CONC3PTS OF "GOOD" 4ND "B4D" 3NT1R3LY DO3SN'T M34N 1 DON'T ST1LL H4V3 MOR4L R3S3RV4T1ONS

...Yeah.  I’d like to think that Rose would never do that on her own without Dirk’s twisting, but...

TEREZI: 1'M T4LK1NG 4BOUT TH3 B4S1C 4B1L1TY OF 1NT3LL1G3NT B31NGS 1N 4LL R34L 4ND HYPOTH3T1C4L PL4N3S OF 3X1ST3NC3 TO G1V3 4 SH1T TEREZI: 1 DON'T G1V3 4 SH1T TEREZI: 4ND HON3STLY 1 H4V3 4 H4RD T1M3 UND3RST4ND1NG WHY YOU DO

I didn’t expect the “Why would anyone read this crap?” line so early in the story.  Still, this sequel WAS designed to both ask and answer this question... I shouldn’t be so surprised.

TEREZI: YOU D1DN'T DO MUCH "WORLDBU1LD1NG" WH3N YOU FUCK3D OFF FOR 3ONS 4ND L3T CH3SS P3OPL3 BU1LD YOUR PL4N3T ROSE: That approach failed. ROSE: Without an organized antagonistic force, the planet became fundamentally unsuited to relevance.

YOU FUCKING MORONS

THE GOAL OF MAKING A NEW UNIVERSE OUTSIDE OF CANON WAS TO ESCAPE RELEVANCE FOR PEACE!

Everything New Rose says makes me want to throttle her.  :(

ROSE: We only know of one way to perpetuate canon for sure. To play and defeat the game, and continue the life cycle of the genesis frog we cling to parasitically.

WHY is “perpetuating canon” EVEN A GOAL

WHY if it isn’t even WORTH anything???

ROSE YOU SOUND LIKE A CASH-IN-HUNGRY MOVIE PRODUCER

ROSE: Now it is protected, in the steady hands of a duly-elected ruler, sure to have a boring and uneventful perpetual term in office.

Oh my GOD, Rose.  You thought leaving Racist Jane in charge was going to just be peachy?

ROSE: As the sheer number of doomed universes our actions in the game spun off should show, we barely understood the design at the time. ROSE: Truly, we stumbled through the tape of the finish line ass-first, cheating all the way.

I suppose I can agree on a small sliver of this, a tangent -- one of the same reasons I was so surprised when Homestuck’s finale closed so few threads:

You all clearly didn’t have time to learn enough lessons.

ROSE: But there was no table of judges waiting to adjudicate our performance by holding up little placards with numbers on them. ROSE: We are the observers, and we are the judges. ROSE: We won, and to the victor go the spoils. ROSE: If you want a hand in making the rules of this new world, then don't storm off.

Terezi knows better than this.  The trolls “WON” with this attitude, and were hoisted on the resulting petard.  Ah, there we go, and she’s saying just that:

TEREZI: YOU'R3 TRY1NG TO L34D M3 TO 4CC3PT YOUR MOR4L FR4M3WORK TEREZI: WH4T 1F NO ON3 SHOULD CONTROL 4 UN1V3RS3 TEREZI: 4LL W3 FOUGHT 4G41NST W4S MONST3RS WHO CONV3RT3D POW3R 1NTO CONTROL TEREZI: 4ND NOT 3V3RYTH1NG W3 LOST F1GHT1NG TH3M W4S 4 M1ST4K3 TEREZI: TH3R3 W4S 4 LOT S4CR1F1C3D FOR TH3 1D34 OF "GOOD" TEREZI: WH4T'S TH3 PO1NT 1N CONT1NU1NG TH1S STORY 1F TH4T W4S M34N1NGL3SS TEREZI: 1F LORD 3NGL1SH W4S JUST HOLD1NG UP TH3 WORLD TEREZI: 1F 1T T4K3S 4CT1NG L1K3 H1M TO K33P 1T 4L1V3 TEREZI: WOULDN'T 1T B3 B3TT3R TO JUST L3T 1T D13

...but that crazy, ruled-over multiverse they ended up escaping is exactly what we think they’re going to end up CREATING in this story, right?  A contained loop of countless universes that follow the same rules they fought so hard to shrug off, many enslaved and miserable under Lord English’s rampaging thumbs?  In trying to do it “better” her own way, Rose is going to possibly end up creating the exact system she once tried to reject.

Congratulations!  You’ll have created a prison.  For your Ultimate Villain, AND yourselves.  I just hope you come to your senses and dodge getting trapped inside there again.

Rosebot looks over at the plinth where her body sits, kept alive, sure, but atrophied and weak, dependent on this machine to continue projecting consciousness to the abiotic enclosure keeping the realization of the Ultimate Self from tearing her apart.

Wouldn't it be better to just let it die? Terezi isn't asking new questions. Rose had first threatened suicide when she was eight.

Ah, damn.  That’s the route we’re going with this conversation, huh.

I was wondering whether keeping Rose’s body alive was “necessary” for the functioning of this particular level of robo-self tech, or whether it’s the last vestige of her vacillation, refusing to cut it off completely yet only because some NON-FUCKING-BRAINWASHED piece of her is wondering if she’ll eventually decide that all this isn’t “right” after all, that she can accept being “less” if it makes her happy.

Explaining things to someone not aided by the exponential increase in processing power Rosebot has is tedious. Terezi's hesitation won't be swayed by explaining more of the universe. There's another source at work.

Source?  What?

ROSE: You said it yourself, that you don't give a shit. ROSE: This melancholy, this meaninglessness you're feeling? ROSE: I think there's another explanation for it. One having little to do with the structural soundness of our plan.

Oh, THAT kind of source. Fuck you, psychoanalyzing anybody else when you’re like THIS right now.

ROSE: You are fucking depressed. TEREZI: OH TH4NK YOU DOCTOR SC13NC3 TEREZI: L3T M3 T4K3 OUT MY HUM4N CH3CKBOOK TO P4Y YOU FOR TH3S3 1NV4LU4BL3 HUM4N 1NS1GHTS

How would you have the slightest impression that Terezi ISN’T completely aware of this, Rose?  Why do you think she CAME with you???

ROSE: The constant insistence that everything is as it ought to be isn’t just counterproductive, it’s pathetic.

Oh, you think she’s projecting.  Fuck you.

ROSE: From one seer to another, we both know how bad you’ve gotten in the past. ROSE: Or, if not in the past, in some past. ROSE: I have no desire to meet that Terezi, no matter how doubtlessly sticky and charming she might be.

Eugh.  It’s interesting that you know so thoroughly about non-blind faygo-chugging Terezi from that timeline (who Terezi fully knows about too), but using it against her is pretty low.

TEREZI: W3 4R3N'T FR13NDS TEREZI: GO 4H34D 4ND DO YOUR 4RTS 4ND CR4FTS PROJ3CT W1TH P3OPL3'S L1V3S

But she DOES keep staring at Rose’s life-support body...  so she DOES care somehow.

ROSE: Your life is going to be short, compared to mine and Dirk’s, but that doesn’t mean it has to be boring. TEREZI: TH3 TWO OF YOU R34LLY 4R3 M4D3 FOR 34CH OTH3R

:C

Just, a tragedy what an asshole she’s been transformed into.

TEREZI: 1S TH4T WHY YOU L3FT K4N4Y4 B3H1ND TEREZI: B3C4US3 YOU KNOW SO FUCK1NG MUCH 4BOUT "F4M1LY" ROSE: I would be careful if I were you. ROSE: The weight of what I know and you do not is enough to overwhelm a mortal frame. TEREZI: UGH SHUT UP TEREZI: STOP PULL1NG TH1S MYST1C4L BULLSH1T 3V3RY T1M3 TEREZI: DON’T YOU M1SS H3R? ROSE: Don’t you? TEREZI: YOUR CONST4NT D3FL3CT1ON 1S 4S PO1NTL3SS 4S 1T 1S 1N3FF3CT1V3

Yeah, Terezi looking at Rose’s body and seeing constantly that crime committed against Kanaya is enough excuse to stare at Rose’s floating body, if she cares about Kanaya.

Too bad Rose is incapable of even THINKING about Kanaya properly as long as Dirk’s influence persists, and Terezi practically or literally knows it.

ROSE: We are obliged to act. To save the concept of meaning itself by continuing to spin the narrative loom into new tapestries.

Said the movie producer plonking down for the creation of Fast 7.

TEREZI: D1D YOU W4NT 4LL TH1S? TEREZI: OR D1D TH3 PR1NC3 >:?

Abruptly, Terezi is lifted from the ground with a glidingly-smooth effortless motion. Metal is so much stronger than flesh. She flashes a sharp-toothed grin as her feet dangle uselessly in front of the lithe metallic form of her counterpart Seer. Inspiring a reaction like this from Rose's robotic placidity has been like squeezing blood from a stone on this years-long journey.

Delicious, candy-red blood.

Oh hell fucking yes.  Is THIS what you were after, you beautiful troll?  Terezi just proved that SOME deep level of Rose has recognized that she’s being manipulated, and refuses to accept it for the sake of her own ego.  She couldn’t possibly get so ANGRY otherwise.  :D

ROSE: I know what I have lost. I have taken a full account of it. I cannot and will not forget it. ROSE: But to cling to it as it faded to nothing would be a meaningless capitulation to entropy.

Why do you value “perpetuation” so much?  She asked you before, and you barely gave a straight answer.

ROSE: Someone must sit atop Olympus and propagate the fabric of reality upon which these memories sit. ROSE: That is the task we have taken on. The game does not feel. The game does not mourn. The game must be played, and we must guide those who will play it better than we ourselves were guided.

DID it need YOU though?  You already had a universe under your belt.  YOU didn’t have to be the one to cause all this.  But I suppose it’s too late now -- you will be, and you might end up regretting it.

ROSE: Just as I have remembered the good, I can recall the terror that consumed me and overwhelmed my body. ROSE: The visions of dissolution. The narrative unspooling. A thousand voices shouting contradiction. ROSE: What value is a marriage, temporary domestic bliss, if all is lost? ROSE: You understand this bargain.

Yeah-- it’s pretty clear here now.

The heroes’ goal in the initial comic, and the reward they earned -- while unclear on paper and DEFINITELY not spelled out -- was to “stop being Homestuck”.  Was to escape the bounds of the comic, to almost KILL the comic.

But that was a little vaguely put, before.  HS^2 has done us the favor of making it an EXPLICIT GOAL of the heroes.

ROSE: Is your resentment towards my choice about Kanaya, or about V–

BONK. Rosebot's even metallic voice is interrupted by the bang of skull against metal, and Terezi's headbutt collapses the both of them into a crumpling heap of metal and flesh.

That was a step too far. Tensions that once simmered under the surface have found the catalyst for a boil.

Terezi’s barely holding on if she’s going to get so dramatic so fast.

Or Dirk’s writing this so dramatic, anyway.

Rosebot finally has Terezi pinned to the ground by the throat. A cool metallic knee is pressed hard between her legs, holding her down. A natural pause in the staccato squabble is found, and two pairs of red eyes are locked on each other.

Oh God, don’t <3< please.

TEREZI: 1 T4K3 1T B4CK TEREZI: TURNS OUT 1 ST1LL 3NJOY T4LK1NG TO YOU >:]

Ah, shit.  Weakness for Light players, huh.

Rosebot leans in close. Terezi can smell the licorice-black lipstick, the same kind as always, applied now to synthetic polymer lips inches away from her own. Rosebot's metal fingers close just a little tighter around her neck–Woah, woah, woah.

I fiddle with some advanced speciation machinery for a few hours and then come back to this?

...yeah, you can’t get into Terezi’s sex life without a bit of choking and breathplay I guess.

You people are here for logic. Systems. Weird plot shit. Lore. Not this.

Hm.

I have mixed feelings about this possibly-sarcastic point of view of his.  And that’s coming from someone who was fuck deep in those systems and frustrated as hell that Andrew worked them out but never explained them or made their (at least I believe) hidden importance clear.

Quit out of your browser, slam the laptop closed and punt it into the ocean. That shark is probably hungry after all the jumping.

You won’t, though. If you were going to quit you would have quit before this. We’re in this for the long haul, you and I. We’ll all go down together. Welcome to ‘Nam.

...yeah.  :C

I'll just get a head start on my species, then. It's only the fate of a new planet on which the weight of saving the universe lies.

Did Dirk never get the memo that Calliope and fucking Caliborn were born on Earth C millions of years hence???

Your universe’s “relevance” is safe, my dude.  You’re just making excuses to rule the narrative.

And... that’s it!  For this update, anyway.

Let’s cut over to the commentary for the last one, which I expect will be touching on and lampshading just how much of an amoral dick move Rose and Dirk are making with the entire live-draft species creation process.

Sketches and Commentary: Chapter 4, The Contest

Oh, two members of the writing team are discussing this one.

Plenty of appreciation of the art of the alien planet, apparently art-ed by Gina.

--Yes, I agree, Terezi probably wouldn’t be the best at parallel parking.

Oh right, I should skip most of the fluff y’all would see if you paid and get just any plot important discussion, let’s skip past some ogling of Rose’s pretty well-designed robo-form and its first onscreen appearance...

(Xam’s designs are GREAT all around.)

A1: The imagery is, admittedly, a little heavy-handed. Terezi leaving the cave for the light, the other two remaining in the darkness to talk endless circles around each other. 

Heh.

...There are some seriously good jokes here.

--OH! I finally get to figure out why Dirk’s hand was glowing all weird when he slammed the “map”: ......nope, they just talk about how big his yaoi hand is.

A1: I guess this means we’ve sort of canonized Dirk’s Texas accent? a2: yeah, but i think this was a foregone conclusion. the dude lived in post-apocalyptic texas, and he's ABSOLUTELY the sort of person to adopt a long-dead accent for no reason other than historical accuracy.

That’s fair.  (Yes, I included that for plot relevance. Totally. ...I really need to be a lighter touch with how much I include of these things that isn’t helpful to actually understand what the fuck is going on with the actual plot/characterization, here, this was real borderline.)

i think we could stand to talk more about the writing at this point.

JESUS CHRIST THANK YOU

we sort of go in drunken circles of Dirk and Rose trying to out-bullshit each other and convince themselves they’re doing the right thing.

--which was obvious to everyone, but.  Still appreciated to see it spelled out.  Seeing our points of view validated like this helps us stay sane through the bullshit, a golden promise of eventual reprieve and vindication.

a2: we tried something a little different for the writing process of this update, which is that for large sections of the dialog we just rp'd the characters a2: andrew copied large sections of early homestuck from personal chatlogs with friends, and i always thought that lent it a special kind of humor and rapport that can be hard to capture by yourself. i think this approach worked pretty well for us.

It REALLY is an effective way to write dialogue for these sorts characters in particular!  Heck, I’m kind of helping someone else do exactly that.  It’s pretty fun!  There are chapters and chapters out by my understanding, having diverged from such a focus on the central character I’m playing but using our logs as a guide... none of which I’m allowed to read, not even the FIRST chapter, so as not to spoil me with the surrounding narration and added revelations.

...What?

You expected me to tell you what it is? Where to find it?

No.  :)

(Maybe later.)

A1: Moving right along. We see more of Dirk’s casual manipulation of Rose’s mental state, that he rationalizes away. It’s not actually that bad if she was going to agree anyway, right? 

Mhmm.  Hard to watch.

a2: [...] but it's a large part of what this chapter is about. a2: what is the right thing to do when you're functionally omniscient? a2: or omni...whatever these kids are. A1: Yeah, the question of whether morality actually has anything to do with running a system like this. Can god be moral? a2: and of course, that's kind of the same question that i ask myself a lot when writing. authorship is a peculiar thing.

That last part is pretty key about the story this entire thing is trying to tell.  A story about the morality of how one goes about creating a story.  A just story.  And if what’s created even has value.

a2: i was responsible for the animation on the sprite panels, which was fun. it's obviously imitating andrew an awful lot, but i think that lends it an aura of homestucky authenticity. andrew is low-key really good at animation. 

Yeah, he really, really is.  His keyframing and the devices he used to communicate what was physically happening were really tight.  I always appreciated that.

a2: aaaaand one last gina panel to finish with. rose may have had her doubts about this contest at first, but as soon as dirk made a little creature with tentacles she's like, fuck it, this is all i've ever wanted actually.

:(

A bit sparse on the detail I was looking for once shit started to get horrific, the implications and such... but I can understand that.

Maybe when we get to the second and third place draft aliens, we’ll actually see a hint of a moral crisis in them.  At least a tiny one.

Arrite, that’s it.  See y’all next time.  I’ll wait to blog the commentary on the past bonus chapter whenever the next bonus chapter is up for blogging.

[atamascolily]

further thoughts on terminator 2

This movie is so interesting to me: it's sequel, foil, retcon, and remake of T1, all wrapped up in one. Yet it also stands reasonably well on its own. I think you could watch this and still follow the plot without having seen the first one.

I say "remake," because there's really only one Terminator plot: "A cyborg from the future is trying to kill you for Reasons; good thing you have some help!" T2 is basically the same story as T1, with John instead of Sarah as the protagonist, and with a new antagonist and guardian.

T2 is able to get away with this by deliberately referencing the first movie, playing with audience expectations, and by shifting the genre from horror to action. As a result, T2 looks and feels very different, even though the plot is essentially the same.

T1 (horror): '80s; bloody; scary; everyone except Sarah and Silbermann die; resigned and sad ending. T2 (action): '90s; shockingly little blood; tense; only a handful of characters die, and many of those are off-screened/not shown directly; hopeful and moving ending.

While I like T2 a lot, T1 is my favorite of the two, despite the fact that I am not a fan of horror, blood, or massive amounts of violence. In addition to having way more Michael Biehn, T1 is shockingly more feminist than T2, despite Sarah's incredible arm muscles.

[Basically, I want an entire movie filmed like that one dream sequence in T2, in which Sarah is continually haunted by/arguing/making out with Kyle's ghost. I'm just saying... MISSED OPPORTUNITIES HERE, PEOPLE!]

I haven't seen the other Terminator movies, but it's telling to me that James Cameron didn't want to be involved with a third movie, saying that he felt like he'd told the story he wanted to tell and move on to different projects. Based on the plot summaries of the subsequent results--T3, Salvation and Genisys--I think the writers got stuck on how to make their versions as engaging and interesting as the first two and/or didn't understand what makes the first two movies work.

In addition to the old "how do you make the same plot look interesting the xth time around?," there's the question of characters. Schwarzenegger is only one half of what makes the Terminator movies so iconic. The other half is Sarah Connor. I think people get confused and believe the movies are really about John, but John isn't what makes the movies great, even though he's the protagonist of T2 and the ostensible Chosen One.

John is interesting as an idea/plot device/symbol, but none of the film portrayals of him as an adult have really had a big cultural impact, which suggest to me that HE's not really why we're here. Sarah is. Why else would the TV show be "The Sarah Connor Chronicles"??

According to Wikipedia, Linda Hamilton turned down a role in T3 because the writers were going to kill Sarah off halfway through the film, with no time for the other characters to mourn, and she felt she was disposable, so she said no--which she was right to do. And right there, that movie was doomed, because they missed the point of what the first two movies were actually about, and couldn't offer anything better in its stead.

Likewise, Terminator: Salvation has no Cameron, no Hamilton, and no Schwarzenegger--and nothing else to fill the gaps to explain why we should care.

Genisys is interesting, because it's clear that the writers realized they had to get Sarah Connor back in somehow. So their solution was to combine the plot of the first movie with the Terminator guardian and updated, action-oriented angle of the second movie. Instead of Sarah as a damsel-in-distress in need of rescue by Kyle Reese, she's been raised by a Terminator since she was a child, which I imagine makes her relationship with Kyle... different. The whole premise is so fanfic-y that I can't believe they actually made this movie.

I don't know why that movie didn't work, exactly, but the images I've seen from it do not inspire confidence. (The fact that I do not find their version of Kyle Reese to be particular hot is telling.) I've only seen one scene from the end with the time machine, which looks like what would happen if you started an MRI machine with a Terminator in the room - bits of metal flying everywhere.

(I think about this every time someone mentions an MRI, tbh.)

I am reserving judgment on <i>Dark Fate</i>, since  both Cameron and Hamilton were involved, and it's not about John Connor. I plan on seeing it once it's out on DVD. I suspect I'm going to find it intriguing on multiple levels.

Other miscellaneous T2 thoughts I didn't fit into previous posts:

Linda Hamilton has a twin, that was how they filmed the double scene at the end, very clever!! I kinda wish this had been used more in the film. They also used a pair of twins with the security guard sequence, clever. SEE YOU DON'T NEED CGI FOR EVERYTHING!!

Linda Hamilton's real life son is the kid the '80s dream version of Sarah is holding in her playground dream, wow...

Oh, wow, Michael Biehn was NOT in the theatrical cut, thank goodness I watched this version, because that was literally the best part of the film.

Also, I watched the Behind-the-scenes montage that came with the DVD and there's literally two seconds of him taking a break while filming that scene, and I FLIPPED OUT even the film quality - the filming of the filming, as it were - is not great.

The DVD extras also include Jim Cameron rolling around on the floor to show his actors how he wants it done, and the crew giving him a gift for his birthday and he says, "As long as it's not a flying piranha" -- the subject of his first movie.

The footage of the Cameron and Hamilton at the shooting range practicing is also really cute. So is watching them destroy tiny miniature versions of LA and the future 2029 battlefield.

And I learned there was a guy wearing only white boxers on the crew during the playground sequence, so make what you will of that. I guess it was hot that day...

Also, apparently Michael Biehn was originally supposed to be the T-1000. Are you fucking kidding me???!!!! No offense to Robert Patrick, but THAT WOULD HAVE BEEN AMAZING (and also SUPER TRAUMATIZING for Sarah!!) What could have been... Maybe this movie exists in some parallel universe, sigh.

I really like the deleted ending, in which Judgement Day doesn't happen (Sarah's voice-over says she gets very drunk to celebrate). John Connor works for the US government, and an elderly Sarah watches him play with his daughter on a playground. I wish they'd ended the series at two movies instead of the nightmare slog of sequels/reboots/whatever. But, money. You know how it is.

Next up: Dark Fate. Or possibly "The Sarah Connor Chronicles," depending on which I can get on DVD first.

[arcaneranger]

Final Thoughts - Summer 2019

Hey, look who finished the season perfectly on time, even if he did so by dropping a bunch of stuff last minute! (Technically, as of writing, I haven’t finished Re:Stage Dream Days, but you can rest assured that it’s bad.)

I thought I was going to do a first impressions rundown video for the entire season at once, since my impression posts don’t tend to get a lot of engagement anyway, but since I didn’t end up going through with it, I’ll summarize my point - summer started strong, and even here at the end, I can easily say it’s the best season thus far in what’s largely been a letdown year for seasonal anime (and a god damn renaissance for long shows, thanks to My Hero Academia, so if I seem down on a season that had Dororo, or Vinland Saga, or Fruits Basket, remember that I exclude those shows from my considerations until the end of the year).

This season saw several high-profile continuations like A Certain Scientific Accelerator, Is It Wrong to Try to Pick Up Girls In a Dungeon II, and Symphogear XV, but also new works by creators like Mari Okada, and anticipated adaptations of Astra: Lost in Space and Arifureta: From Commonplace to World’s Strongest, and in the end, well...a lot of those were mixed bags at best, but the biggest drawback I will remember Summer 2019 for is that it was drowning in bad isekai shows. The aforementioned Arifureta, the basically-counts Danmachi, and also Isekai Cheat Magician, Do You Love Your Mom and Her Two-Hit Multi-Target Attacks, The Lost Ones, Demon Lord Retry!...it just never ended, and that’s not even counting If It’s For My Daughter, I’d Even Defeat a Demon Lord. 

Speaking of all that stuff, let’s get right into it, yeah?

28 shows were simulcast this season, and of those, I…

Skipped 4:

Yami Shibai 7, Starmyu Season 3, A Certain Scientific Accelerator, and Lord El-Melloi II Case Files: Rail Zeppelin Grace Note were all skipped because I have not watched the previous series.

Dropped 15:

Worst of the Season: If It’s For My Daughter, I’d Even Defeat a Demon Lord!

I dropped this after one episode because I found the aesthetic and tone to be aggressively boring and I found even the cute daugheroo character to be utterly generic in execution...and then later found out oh boy was I right to drop it, based on how many people compared it to the Bunny Drop manga that we don’t talk about. *shudders*

Arifureta: From Commonplace to World’s Strongest

Wins the “biggest tryhard” award for being just the most straightforward an SAO award gets, right up to being grimdark for dumb reasons. The first episode alone had inconsistent animation, and that just did not bode well for the future...and the plot instantly reminded me of Slime, which soured on me over time. I let this one go sour after one shot.

Demon Lord, Retry!

The blandest of beige this season, Demon Lord had neither the story nor the production values to reel me in or convince me it was anything but the Overlord wannabe it so clearly was.

Isekai Cheat Magician

This show was a pretty transparent attempt to have an isekai story with a childhood friend romance plot, and while I’m fine with one and a half of those things, it couldn’t execute them in any decent way by the end of the first episode, and just wound up being largely boring.

Wasteful Days of High School Girls

Speaking of boring, what if Nichijou wasn’t funny? You’d get something like this.

Do You Love Your Mom and Her Two-Hit Multi-Target Attacks?

So the tone this one ultimately ended up having was pretty much exactly what I expected after the premiere - it leaned too hard on jokes that weren’t as funny as it thought they were, and too hard on the dumb hentai mom trope, and neither of those things interested me in the slightest. Pretty okay with having left this off the watchlist.

The Ones Within

I have stated multiple times in the last few weeks that Symphogear is great because it can convince you that it’s a work of genius. The Ones Within has, unfortunately, convinced itself that it’s deep social commentary of some kind, rather than a bargain-bin Danganronpa with no real thought put into it.

Are You Lost?

I’m amazed that we got another Eromanga Sensei this season and it flew entirely under the radar. For God’s sake, the first episode featured a young teenage girl eating a bug and drinking her own urine. I just didn’t see myself being particularly entertained by the shock value longer than the premiere.

Ensemble Stars (4/10)

I can’t tell if this one is actually over, but Funimation’s site doesn’t list any new episode premieres coming up, so I’m gonna assume it is? I gave this one a shot and hung onto it because it took UtaPri’s premise and gave it the slightly more serious tone I was looking for, but dropped it after the second episode started to drown us in side characters with no hint that the floodgates were closing, rather than giving ample screentime to a select cast so they could actually become at least two-dimensional before throwing in more people we’re supposed to care about.

BEM

BEM suffered from an unfortunate lack of distinct personality, which sucks when it seems to have had a decent story to tell. Nothing else about the show wound up sticking out to me, though, which has me fully convinced that Production I.G.’s name is only on this to boost recognition, and the second-billed LandQ studios did the majority of the work. And their best-known other show is Swordgai. So...

To The Abandoned Sacred Beasts (5/10)

I have gotten absolutely no pushback so far for my decision to tear into this show because it should have been a different show, so I’m gonna take that as a general agreement of my earlier statement. What a waste of a concept.

Cop Craft (5/10)

This one I still think I was not crazy to pick up after the first episode, because it wasn’t until the third that the animation tanked hard and the pacing went absolutely nuts, and apparently stayed that way. Did they write a thirty-nine-episode story that had to be condensed into twelve or something?

Magical Sempai

This one I probably would have kept watching if the majority of its humor wasn’t just the title character embarrassing herself in lewd ways. It was funny, but I didn’t see myself enjoying anything more than one episode of it.

GRANBELM (6/10)

This one I got halfway through before realizing that, during my end-of-season catchup, I had absolutely no desire to return to. The plot didn’t really start moving until the fifth episode, and in that time I had not gotten particularly invested in the characters, especially since the show makes fun of the viewer for thinking that the big mecha dream battles actually had stakes beyond “you don’t get to be The Thing”. At least it looked nice and the mecha designs were very original.

Are you willing to fall in love with a pervert, as long as she’s a cutie?

There were four shows this season with questions for titles. Just saying! This one actually had me hooked right up until the end, revealing that not only is it a fanservice show, but a fetish pandering one. That being said, if I were attracted to women, I could have seen myself getting something out of it, what with the decently moody tone and good production values.

I put 2 On Hold:

Is It Wrong to Try To Pick Up Girls In A Dungeon? II

I’ll probably come back to this when the third series comes around, just to give it one more chance to pull me back in, but ditching my favorite character for harem antics and character shilling just did not endear me to this long-awaited sequel.

Re:Stage Dream Days!!

This one’s not actually on hold, but I don’t have any other good place to mention it. This one I’m gonna make it through just on willpower, not because it’s good, but because it starts out as the most shameless rip-off I’ve ever seen in anime, specifically of Love Live!.

And I Finished 7:

Kochoki (5/10)

I thought I was gonna give this one a 7 at least, for nearly the whole season, for being a decently-told and somewhat new telling of Nobunaga’s early life with great production values for Studio Deen...right up until the structure fell completely apart at the end, almost completely out of nowhere. I’m still in awe of the gall this show had to literally skip over the final battle.

How Heavy Are The Dumbbells You Lift? (8/10)

This one came right the fuck out of nowhere and totally blew my expectations out of the way from the very first episode. Looking at the summary, I was convinced I was gonna drop this after the premiere...and found myself totally hooked by its cheery visual presentation and excellent sense of meta-comedy, not to mention its genuine educational value.

Astra: Lost In Space (8/10)

One of two adaptations I was really looking forward to this season (along with Fire Force), Astra was pretty much what I expected - a very good translation of a very good manga that ran for the perfect amount of time to be divided into twelve-ish episodes. A fantastic and memorable cast of characters enhanced a surprisingly twisty story, and Lerche made it all look just as good as I’d hoped.

The Demon Girl Next Door (8/10)

Speaking of defying my expectations, another show I was expecting pretty much nothing from, maybe one I could compare to Gabriel Dropout or something, that was instead an incredibly charming story of a girl trying to save her family by defeating a magical girl...with a very, very loose definition of the word “defeat” in play. I couldn’t have asked for much more from this one, aside from maybe a sequel?

Given (9/10)

Speaking of “Lerche” and “gorgeous”, this profoundly gripping story of a spacecase and a loner hesitantly making music together blossomed further and further as it went on, and became my new go-to reference point for explicit gay relationships in anime. It went where even Yuri On Ice!!! couldn’t, and left me desperate for a Part Two.

O Maidens In Your Savage Season (9/10)

My write up for this show was one of my longest in recent memory, and I stand by it - even if Okada had to write a few plot contrivances in to get where she’s going, at least she presented her cast in an incredibly thoughtful way and gave them a satisfying payoff, with the knowledge that they’re teenagers and all of their problems can’t be solved in one semester. The high water mark for discussions of sexuality in this medium.

BEST OF THE SEASON: Symphogear XV (9/10)

Anime is wonderful, and so am I.

So that wraps up summer! We’ve got a lot to look forward to in fall, even if My Hero Academia and Food Wars’ fourth series will both ultimately end up on a list in the distant future next year. Will Psycho-Pass 3 redeem the series? Will Azur Lane be better than Kantai Collection? Will Beastars beat Aggretsuko as the biggest furry panderer of the year? Only time will tell. And then I’ll tell you all what I think it said.

[lazywhaler]

Serious actual Dishonored 2 Thoughts

I played through Dishonored 2 completely for a second time and paid a lot more attention this time around and as promised here are some thoughts under the cut (some 1700+ words of thoughts). This post is primarily meant to be like a journal-type thing for my thoughts, but I’ve tried to organize it as best I can with my minimal writing skills:

I was initially disappointed by Dishonored 2: I didn’t play this game at launch in 2016 because at that point I had a laptop that could only run Dishonored on low graphics in low chaos. I watched a bunch of walkthroughs on Youtube, read people’s thoughts on the comments in the wiki and all the meta here. I thought, and continue to think that mechanically, and gameplay-wise it’s vastly superior to the first game. 

I was disappointed by the story which was basically a retread of the first but somehow even more simplified. (which even though I love with all my heart, come on, Dishonored doesn’t have a groundbreaking story). The Daud DLCs were so much better in that regard, that I blindly trusted that Arkane would continue to move in that direction.

The characters in this game felt a little more one-dimensional. It felt like almost all the targets were expies of characters from the first game in one way or another, and the Clockwork Mansion level seemed to say that they didn’t care.

Apologies to Stephen Russel, but Corvo’s voice acting is not good at all. Corvo just sounds like he’s staring down a long Monday at the office with a hangover. I might said that maybe that grizzled raspy voice just doesn’t work for Dishonored but Michael Madsen’s performance of Daud pretty much assassinates that argument.

Don’t like what they did with the Void or characterising the Outsider, but this one’s just a personal preference. I can see why people would like it or not care, even if I don’t. 

The story also felt much much lower-stakes than the first one. Dunwall really felt if you pushed it with a feather, it would fall over the edge. Karnaca, in contrast felt like a vibrant, ascendant city being held back by gangs and corruption. Even the bloodflies aren’t that much of a calamity.

Having paid closer attention to the story, and other peoples’ readings of this game, I’ve realised that the ‘low stakes-ness’ of Dishonored 2 is intentional.

Arkane could have chosen to show Karnaca as a city on the brink of utter collapse. The bloodfly epidemic could have been bad enough that instead of buildings, entire streets or districts had to be blocked off. I haven’t done a high chaos run, but in my playthroughs, I’ve never seen Nest Keepers in groups of more than two, in stark contrast to the pant-shitting Weeper hordes from the first game.  Dunwall was literally blockaded, so there was no escaping your fate. The docks at Karnaca are wide open for anyone who wants to arrive. This is all intentional. 

So, the stakes are low. But why would Arkane intentionally make that choice? I think they intentionally lowered the stakes so that all the instances of corruption that you encounter or hear about are thrown into starker relief

In the first game, against the backdrop of a cataclysmic plague that made life very hard for non-aristocrats, it’s pretty easy to see why the City Watch would turn to crime. The plague if not excused, at least justified, a lot of shady behaviour from characters up to and including Sokolov experimenting on healthy people. In contrast, without the threat of the city descending into utter chaos hanging over everyone’s heads, when you try and pull the same shady crap that people did in the first game, now you just look greedy. And I think this game tries to bring that theme right to your doorstep, by letting Corvo/Emily participate in making things worse.

Robbing people’s houses in this game feels a lot worse than it did in the first one. The majority of the apartments that you rob don’t belong to people who are outrageously wealthy and haven’t been abandoned. These are people who are already getting screwed over and you can help make it worse. In Lower Aventa, you get a whole cutscene with the Lady Gaga Black Market woman being threatened by the Howlers and you have the choice to rob her (very likely) after witnessing that. 

Dishonored 2 focuses more on repairing damage done rather than avenging it

A bulk of the problems that happen in this game can be attributed to Corvo and Emily not being good at their jobs and more importantly, not being a good rulers. The game highlights the moral failures of Corvo and Emily to turn a blind eye to Luca Abele’s antics and the problems in Karnaca. They fucked up and they can’t really take revenge because they played a part in it too. That’s why instead of the poetic justice fate-worse-than-death types of nonlethal eliminations from the first game, we have more, for lack of a better word, corrective, options. The Crown Killer is cured. Breanna Ashworth can’t do witch stuff anymore. Knocking out Stilton improves so much stuff and literally heals Billie Lurk. Even Delilah gets an ending that kind of rewards her for all the crap she’s been through, without letting her hurt other people. Kirin Jindosh’s elimination comes across like this, but it’s emphasized that we’re taking him out purely so that we can stop him from mass-producing clockwork soldiers, not out of revenge, For my money, the only poetic justice-type nonlethal elimination is Luca’s even if he’s not really going to be in a situation where he’s better off dead. 

But here’s the thing: even though I ‘get’ Dishonored 2 a little better now, I still think they did a terrible job of trying to convey a lot of this!

I said that I think the low stakes nature was intentional and I think there’s reasonable evidence to support that claim. But there’s also evidence to contradict it. The Outsider keeps talking about Karnaca being on the brink of collapse. So do a lot of NPCs (I’m looking at you, beggar near the Aventa District Black Market). Am I supposed to take that at face value, ignoring what’s being shown to me in favour of what’s being told? Am I supposed to be like ‘Classic emo drama queen Outsider’ and slap my knee, and marvel at humanity’s propensity to make things out to be worse than they seem? I don’t know????

People being squeezed dry by the Grand Guard on the left and the Howlers on the right, with a light garnish of Overseer harassment? Definitely something in the game. When you rob them, and especially the Black Market shopkeepers? It’s Bad. But I guess a twinge of guilt and judgement from me is all you get, because the game isn’t going to punish you. They could have really committed and made robbing the Black Markets an action that increase chaos, even if you don’t kill anyone, but that Did Not Happen.

What about Emily (and let’s not even pretend anymore that this story holds together with Corvo as the protagonist) confronting her failures as a leader, realising she’s Not So Different from Luca Abele? Well, she gets called out on it a grand total of, maybe, 3 times by Billie and Sokolov, who immediately go ‘Well anyway, here’s the next thing I want to say’ and then at the end of the game, she’s like “My time here living as a Poor has given me Perspective. I deserve to be Empress now because I Want it”. Combined with how low-stakes this game is, it feels a lot like Emily took a gap year to find herself, except that the whole thing evidently took two months. I don’t think they executed any of this stuff well. The fact that I have to question these decisions were intentional or not doesn’t bode well.

Emily kind of faces some reckoning for her moral failings, turning a blind eye to the crap going down in Karnaca, but what about her incompetence and utter lack of interest in being a ruler? Or Corvo’s failings as a Spymaster (like seriously dude, how did you not know how any of this shit was going on, so much of it was an open secret). But she barely gets called out on her disinterest in ruling and IIRC Corvo pretty much gets away scot-free with not doing his job. 

Or maybe I’ve just gotten it wrong. I study computer science. Media criticism is way outside my wheelhouse and so maybe I’ve grossly misinterpreted what this game was going for. But the one thing I’m absolutely, 100% certain about is that this game shouldn’t have been about Corvo and Emily.

Even back when we started getting details about Corvo and Emily, I was a bit...iffy about the whole thing. Their stories wrapped up pretty nicely in the first game. “Emily lived to be a wise, just ruler and things were good” or “Emily is a Murder Empress”. The end. And now suddenly it’s not. I hate it when sequels override the endings to previous concluded arcs, and I think there needs to be good justification for doing it. Arkane didn’t do a good job of it and after the wet hork of spit they lobbed at Daud’s arc in Death of the Outsider it seems to be a problem they have. Their story was completely concluded in the first game. No sequel hooks. This game shouldn’t have been about them.

I feel like Arkane were trying to tell a story about corruption and the decay and damage caused by simple human greed, but felt like they had to shoehorn in Corvo and Emily or we’d lose interest. I think the game would have made way more sense with someone from Karnaca’s underclass as the protagonist, maybe a Mindy Blanchard type. Maybe her plan to craft the Mark works, or maybe the Outsider gives her a little push and then she foils the conspiracy to bring Delilah back, kind of like The Brigmore Witches, except Delilah doesn’t actually come back. The main villian in this game could just be people’s appetite for corruption and Emily’s apathy. 

I don’t know. It’s too late for any of that kind of speculation. My faith in Arkane took a huge hit with the one-two of Dishonored 2 and DOTO. It makes me optimistic that Dishonored 3 would have a completely different protagonist, but I’m not going to be blindly trusting, like I was after Brigmore.

[the-desolated-quill]

The Quill Seal Of Approval Awards - The Best of 2018

Hello and welcome, dear reader, to the greatest, most important awards ceremony in the history of entertainment. The Quill Seal Of Approval Awards. The award of recognition that everyone on Earth covets even though they don’t know it. For the Quill Seal Of Approval is a most esteemed prize for hard work and artistry. Better than the Golden Globes, more prestigious than the BAFTAs and guaranteed to be more diverse than the Academy Awards. You know your film, novel, TV show or video game has achieved legendary status when some random nobody on the internet says it’s the best in some obscure top 10 list that’s read by only a couple of people. That’s the true sign of success.

First, a few parish notices. Obviously this is my subjective opinion, so if you disagree with my choices, that’s fine. Go make your own list. (also remember that my opinion is 100% objective, scientific, factual and literal truth and anyone who disagrees is clearly a philistine and a dummy and a poopy-head whose mum smells of elderberries). Also please bear in mind that I haven’t been able to experience everything 2018 has to offer for one reason or another. In other words, please don’t be upset that A Star Is Born isn’t on this list. I’m sure it’s as amazing as everyone says it is. I just never got around to watching it.

Okay. Let us begin.

Inside No. 9 - Series 4

BBC2′s Inside No. 9, written by the League of Gentlemen’s Steve Pemberton and Reece Shearsmith, is an anthology series that’s often sadly overlooked, but it’s really worth a watch if you’re into shows like Black Mirror and The Twilight Zone, and this series in particular has been fantastic. We’ve had an episode written entirely in iambic pentameter, an episode whose chronology runs backwards, a live episode that really plays around with the format, episodes containing tragic and biting satire, and one especially twisted episode that brings out a side of Steve Pemberton we’ve never seen before. Series 4 has been a real treat from start to finish, with each episode beautifully written and expertly performed. Inside No. 9 deserves to share the same pedestal as Black Mirror, no question.

Black Panther

I’m sure everyone knows about my less than flattering views on the Marvel Cinematic Universe by now, which is what made Black Panther such a breath of fresh air for me. Stripping away all the convoluted crap, Black Panther has often been compared to The Dark Knight, and for good reason. Like The Dark Knight, this movie uses the superhero genre to tackle real social and political issues. In Black Panther’s case, exploring just what it means to be black in the modern world. Boasting an impressive cast of black actors, strong female characters, an engaging and complex antagonist, fantastic special effects and truly excellent direction from Ryan Coogler, Black Panther represents a new benchmark for Marvel, the superhero genre and the film industry in general. It proves how important and how lucrative diversity and representation in media can be, and it unintentionally shows how flawed the Marvel business model has become. The reason behind Black Panther’s success is simple. It’s because it’s bloody brilliant. And the reason it’s bloody brilliant is because Coogler was allowed to realise his own creative vision without Kevin Feige and Mickey Mouse breathing down his neck. Perhaps they should take note of that in future.

Deadpool 2

Of course Deadpool 2 is going to be on this list. Are you really surprised?

The Merc with the Mouth goes from strength to strength in the rare instance where the sequel is actually as good as, if not better than, the original. The first Deadpool was a great origin story for the character, but Deadpool 2 felt like an adventure ripped straight from the comics themselves. Crass, ultra violent and hysterically funny, Deadpool 2 is the crowning jewel of the X-Men franchise. Fan favourites such as Negasonic Teenage Warhead and Colossus return as well as new characters such as Domino, played by the exceptional Zazie Beetz, Cable, played by the astounding Josh Brolin, and Firefist, played by Julian Dennison who deserves all the success in the world because good God this kid can act!

But of course the star of the film is Deadpool himself with Ryan Reynolds once again proving beyond a shadow of a doubt that he understands this character back to front. Not only is he hysterically funny, capturing the character’s irreverent tone perfectly, he also absolutely nails the tragic underpinnings of Deadpool that make him such a wonderful character. In between the f-bombs and gore are moments of real drama and emotional pathos as the film tackles themes such as loss, discrimination, abuse and suicidal depression. All this whilst taking the piss out of 2017′s Logan. 

Oh yeah, and it also features the first openly LGBT superheroes in cinematic history. Fuck you Disney! NegaYukio and Poololosus for the win! LOL! No, but seriously, now that you have the rights to X-Men back, if you try and censor Deadpool in any way, shape or form, I will kick your arse.

God Of War (2018)

“BOY!”

Yes Kratos is back, having successfully destroyed the world of Greek mythology and now has his eyes on the Norse Gods. And he has a son now. What could possibly go wrong?

Seriously though, this new God Of War is simply exquisite. While I have long admired the God Of War franchise for its interpretation and adaptation of Greek mythology, the previous games in the series have never exactly been the most sophisticated when it comes to storytelling (and the less said about the casual sexism, the better. Yes Sony, I promise I understand the thematic reasons behind playing a minigame that allows you to have sex with Aphrodite in God Of War 3, but it still doesn’t change the fact that it’s sexist as shit). God Of War 2018 changes all that with an intelligent and engaging story that allows us understand and connect with Kratos at a more personal level than we’ve ever done before. Taking place years after God Of War 3, Kratos is older, wiser and trying to raise his son Atreus in the hopes that he won’t make the same mistakes Kratos did in his past. Not only is the story amazing, continuing the franchise’s themes of vengeance and the strained relationships between parents and their children, the gameplay is also a ton of fun with many memorable moments and boss fights.

And as an added bonus, we get two strong female characters that aren’t treated like discardable sex objects. That was nice of them.

Incredibles 2

The long awaited sequel to The Incredibles finally arrived in 2018 and it did not disappoint. Incredibles 2 was everything I could have wanted and more. Continuing on from the events of the first movie, we see Elastigirl take the spotlight as she fights the Screenslaver whilst trying to persuade the worlds’ governments to lift the ban on superheroes. Meanwhile Mr. Incredible takes a back seat as he tries to reconnect with his kids Violet, Dash and Jack-Jack and prove he can be a good, supportive dad. 

Continuing to draw inspiration from Fantastic Four, X-Men and Watchmen, Incredibles 2 is... well... incredible. Expanding the world he created, Brad Bird tells a smart, funny and compelling story that stands head and shoulders above the majority of superhero movie fodder we get nowadays. Elastigirl flourishes in the lead role this time around and the kids get a lot more development, the Screenslaver is a great villain that compliments the themes of the franchise wonderfully, and we get to see a whole bunch of new characters such as Voyd and the Deavor siblings as well as the return of old favourites like Frozone and Edna Mode. 

Honestly, the baby alone is worth the price of admission. Hopefully we won’t have to wait another fourteen years for Incredibles 3.

Marvel’s Spider-Man

Marvel’s Spider-Man is an amazing game. But of course you knew that already. It’s made by Insomniac Games, the same guys behind Ratchet & Clank. Of course it was going to be brilliant.

Simply put, this game does for Spider-Man what the Arkham games did for Batman. Not only is it a great game with brilliant combat and fun web swinging mechanics, it also has a great story worthy of the wall crawler. Unlike the movies, which seem to continuously yank Peter Parker back into high school with each new reboot as those the poor bastard were attached to the fucker on a bungee rope, this Spidey has been fighting crime for eight years. With great power comes many responsibilities as we see him struggle to juggle crime fighting, his new job as a scientist, his commitments to helping Aunt May at the F.E.A.S.T shelter and trying to win his ex Mary Jane Watson back after a six month split. It’s a brilliant story featuring many classic villains such as Shocker and Electro as well as lesser known villains like Screwball and the criminally underrated Mister Negative who finally gets to be the central antagonist in a Spider-Man adaptation. It’s fun to play, engaging, dramatic and really emotional at points. I cried real tears at the end. What a punch to the gut that was.

OOOOOH! And we might be getting to play as Miles Morales in the sequel! I sure hope so! :D

The Grinch

At this point I imagine many of you are scratching your heads. 

“Really Quill? The Grinch? Illumination’s The Grinch? This deserves the Quill Seal Of Approval? Are you sure?” Yes dear reader, I’m absolutely sure. Just hear me out.

It’s true that the majority of Dr Seuss adaptations are shit. While the live action version of the Grinch starring Jim Carrey has a cult following and is fondly remembered by some, it’s still pretty crap, and even Illumination themselves screwed up royally with their adaptation of The Lorax. But this new Grinch is truly excellent. For starters, the animation is gorgeous. This is clearly the format that works best for Seuss movies. Benedict Cumberbatch does a really good job voicing the character, giving him depth and complexity beyond just being a big old meanie. The film also has something no other Seuss film has ever had before. Subtlety. Illumination have clearly learned their lesson after The Lorax. They’re no longer bashing you over the head with a moral message. They’re not trying to over-complicate a simple story by adding pointless sub-plot after pointless sub-plot. In fact the bits they do add actually feed into the main core of the narrative, as opposed to The Lorax, which just confused things. And while there are cute Minion-esque sidekicks like there are in a lot of Illumination films, The Grinch limits it to two (Max the dog and a reindeer named Fred), they’re both legitimately funny, serve an important narrative purpose and don’t distract from the more serious and emotional moments.

In all honesty, I was debating between giving the Quill Seal of Approval to The Grinch or to Bumblebee (the first legitimately good Transformers movie), but I decided to go with The Grinch because of how it handles the character and the story’s message. A lot of people scoffed at the idea of giving the Grinch a back story (and to the film’s credit they don’t force the issue or over-explain where the Grinch came from) but it’s honestly what makes this new adaptation of The Grinch so special to me. He’s gone from being a Scrooge-like monster to an anxiety filled misanthrope who associates Christmas with being alone. It may sound like a jarring change on paper, but in practice it honestly works so well and adds a whole new dimension to the Grinch. It’s treated with absolute care and sincerity and the film really earns its emotional moments, particularly at the end when we see the Grinch sit down to have Christmas dinner with the Whos.

If you haven’t already, I highly recommend you give this new Grinch a chance. You might be pleasantly surprised :)

Doctor Who - Series 11

A woman?! In the TARDIS?! How absurd!

Jodie Whittaker made history as the first woman to play the Doctor and the new series doesn’t disappoint. Whittaker is predictably brilliant in the role, giving the character compassion, charm and wit. We also get a new bunch of companions (including the always brilliant Bradley Walsh as Graham) who all have some great moments in Series 11 and the relationships they form with each other is incredibly touching and fun to watch. But the writing, my God, the writing. Admittedly not every episode has been perfect, but it’s leagues above anything Moffat has given us during his disastrous reign. The majority of Series 11 has been well written and intelligent, tackling important and relevant social issues (something Doctor Who has always been doing and anyone who says otherwise is an idiot) and focusing on likeable and relatable characters rather than convoluted series arcs. We got to meet Rosa Parks, witness the partition of India, and ponder on the dangers of automation whilst the Doctor tries to save the world from bubble wrap. Oh, and the Daleks are scary again! I know! I couldn’t believe it either!

What makes this all the more remarkable is who the showrunner is. Chris Chibnall. A writer I’ve often criticised in the past for being derivative and shit, and yet somehow he’s managed to create some of the best Doctor Who I’ve seen in a long time. Not only has his writing improved dramatically since his Torchwood days, he’s also demonstrated a commitment to having diverse representation both in front of and behind the camera as well as in the scripts themselves. For the first time in what feels like an age, Doctor Who feels like Doctor Who again, and I’m ecstatically happy.

Spider-Man: Into The Spider-Verse

How come we don’t see many animated superhero movies in the cinema? Considering the medium from which superheroes came from, you’d think it would be a no-brainer. Presumably it’s because Disney have got such a strangle hold on the animation market, but that’s hopefully going to change thanks to Spider-Man: Into The Spider-Verse (or, Sony’s Repentance for The Emoji Movie).

Let’s get the obvious out of the way. The animation is gorgeous. It’s pretty much an animated comic book and it stands out as one of the most unique looking animated films in recent memory. Spider-Verse is essentially a love letter to the legacy of Spider-Man as we see multiple different versions of Spidey, including Spider-Gwen, Spider-Ham and Nicholas Cage as Ghost Rider cosplaying as Spider-Man Noir, demonstrating not only the sheer variety of Spider-Men we’ve had over the years, but also exploring what connects them together. With all these different interpretations across many different universes, the idea of Spider-Man comes to the same thing. An ordinary person who experiences tragedy and becomes something greater. It’s hopeful and inspirational in a way Spider-Man films hasn’t been for a while now (Spider-Man: Homecoming sucked donkey balls. Period).

But let’s not forget that while the film explores the Spider-Verse, the main focus is Miles Morales who finally makes his cinematic debut. Not only is it a very faithful adaptation of Ultimate Spider-Man’s origin story, Miles himself is such a great central character for the modern age and arguably has more relevance to today than Peter Parker does. The characters are funny and relatable and the story is expertly crafted and impactful. But then what do you expect from the writers and directors of The Lego Movie? (if only Disney hadn’t interfered with Solo: A Star Wars Story. We could have had it all).

Mowgli: Legend Of The Jungle

This one kind of snuck up on me toward the end of December, but I knew the moment I saw it I had to include it on this list.

Mowgli: Legend Of The Jungle is an adaptation of The Jungle Book with Andy Serkis making his directorial debut. Yes the same guy who did the motion capture for Gollum in Lord Of The Rings and Caesar in the rebooted Planet Of The Apes movies and who totes deserves an Oscar for Best Actor (fuck you Academy Awards!), and he brings this same motion capture technology to this film. Unlike Disney’s Jungle Book, which merely rehashes the original animated film whilst somehow stripping all the charm from it, Mowgli sticks closer to the original Rudyard Kipling book. This isn’t a cheery musical. This film is often dark and intense as we see Mowgli (played wonderfully by Rohan Chand) struggle to find his place in the world. He knows he doesn’t belong with the animals in the jungle, but he doesn’t really fit in with the world of man neither. It’s an emotional and dramatic character piece brought to life by great writing, great acting and stunning special effects. 

Andy Serkis has expressed a desire to do an adaptation of George Orwell’s Animal Farm, and after watching this movie, I would love to see that. If you haven’t already, go watch Mowgli: Legend Of The Jungle. It’s available to stream on Netflix and it’s truly amazing.

And that’s it for 2018. Congratulations to the winners of this year’s Quill Seal Of Approval Awards. Unfortunately we’re on a limited budget here on The Desolated Quill, so I can’t offer any sort of trophy or medal or anything. What I can do though is write the words ‘I’m an awesome cookie’ on a post-it note and stick it on your forehead. Will that do?

[preserving-ferretbrain]

Quis Copyright Ipsos Custodes?

by Dan H

Wednesday, 06 June 2012

Dan rambles about copyright, DC, and the Watchmen Prequels~

Poking around the internets a couple of days ago I discovered the

following article

about the upcoming (or by the time this article is published, recently released) Watchmen Prequels.

I'm in two minds about this. Part of me says that this is a horrible shameless cash-in that pisses on the memory on one of the greatest graphic novels in history. Another part of me says that the first part of me is just being reactionary and fanboyish.

The Slate article I link at the top of this piece starts off with the oft-repeated observation that DC paid Siegel and Shuster $130 for the rights to Superman and went on to make a shit-ton of money out of the Man of Steel while his creators died in relative poverty. It also points out that the estate of Jack Kirby, who created most of the original Avengers saw nothing from the recent movie.

Now obviously there is a lot wrong with the comics industry. Comic book companies do treat a lot of their writers and artists like shit, and the comics fandom as a whole is as problematic as all fuck. But try as I might, I can't get angry about the fact that the rights to most comic book characters are owned by big companies, instead of by the people who created those characters for those companies.

Perhaps it's that my professional background is in Education while what limited creative background I have is in RPGs, so I'm very used to the idea that what I do in either my professional or my creative life ceases to be mine the moment I put it out into the world. If one of my D&D players wrote a book based on my campaign, I might expect a thank-you but I wouldn't expect royalties, and I obviously don't expect my students to cut me in on their future earnings just because I teach them things which help them get on in their lives (nor does it bother me that the various syllabus documents, schemes of work, and sets of revision notes I have produced as part of my work belong to my school and not to me).

Indeed thinking about it from the perspective of any industry apart from the creative media, the notion that somebody might deserve a share of the profits from a piece of work somebody else does based on work they did as part of their job ten years earlier is completely alien. It reminds me, tangentially, of that

SMBC

strip which suggests that the principle known in academia as “publish or perish” is known in the rest of the world as “do your job or get fired.” There's the same peculiar sense that something which is seen as the mother of all injustices in one industry is just par for the course in most others.

To put it another way, although like most human beings I'm prone to irrational and inconsistent ideas, I do make a vague effort to keep my beliefs consistent with one another. And I'm a big fan of Creative Commons, a supporter of fanfiction, and a strong believer in fair use and the value of transformative works. I am not sure that I could reconcile my belief that the Harry Potter Lexiconhad every right to compile information from the Harry Potter books into an accessible format, or that people have the right to write original stories using other people's characters and put them on the internet (fanfiction.net, for what it is worth, already hosts nine hundred and forty pieces of Watchmen fanfic), with the belief that it is unreasonable for the people who published the original Watchmen to publish sequels if they damned well want to.

I think what bugs me the most about this issue, and more specifically with the attitude that it is somehow self-evident that the person who “creates” a character is entitled to royalties in perpetuity, is that it seems grounded in a mindset with which I am all too familiar. I am, as I believe I have said in many previous articles, an overeducated underachiever. I am very, very good at coming up with ideas and very, very bad at following them through.

The reason people like me react so strongly to the story of Siegel and Shuster isn't that we have genuine sympathy for the hardworking Jewish immigrants who were screwed over by the cynical fatcats at DC, it's that we're all dreaming of the day when we will come up with that one “idea” that will make us millionaires without our having to do any actual work. We baulk at the idea of comic book companies making millions from an idea for which they paid $130 not because it was exploitative (although it probably was) but because we see no value whatsoever in all other work that went into turning a $130 character idea into a billion-dollar IP. This is particularly ironic since a lot of that work was, in fact, done by Siegel and Shuster themselves (and it was work for which they were in fact well paid, Wikipedia reliably informs me that while the pair were only paid $130 for the rights to Superman they were paid $75,000 a year to write Superman – and that was in the 1940s).

People like me love to pretend that ideas are all that matter, that because The Avengers was a pre-existing IP, that all the people who made the film had to do was show up and shuffle things into vaguely the right order. This is, of course, nonsense. Yes, The Avengers wouldn't have existed without Stan Lee or Jack Kirby, but nor would it have existed without Wayne T. Silva the assistant payroll accountant, or Nuo Sun the actor trainer, or Matthew Roper the set medic, or any of the literally hundreds of people who were directly involved in making the actual movie. Of course the original characters are part of what made the film successful, but so is the fact that the actors did their stunts right, or that the payrolls were correctly managed.

Valuable intellectual properties aren't created by individual geniuses – even when a single person owns the copyright the actual brand (and make no mistake about it, thats all a valuable artistic property is – a brand that people buy into and want to hear stories about) is created by a vast army of professionals. We might believe that Harry Potter was created by JK Rowling, but in truth it was partly created by Thomas Taylor (who drew the first cover for Bloomsbury), Mary GrandPre (who drew all of the US covers and seems to have created the distinctive “Harry Potter” font later used in the movies) and Daniel Radcliffe. Yes, the fact that JK Rowling started out as an unemployed single parent and is now one of the richest people in Britain makes for a lovely rags-to-riches story, but one could make the case that she is (in part) reaping the rewards of other people's work. Building a brand, after all, is the role of a corporate marketing department, not an individual artist.

To put it another way, Siegel and Shuster may have created Superman, but it was undoubtedly DC that turned him into a billion-dollar brand, and it is downright perverse to celebrate the success of that brand while at the same time condemning the company that created that success. Did the creators of Superman get screwed? I honestly don't know. Certainly DC negotiated a contract that was in the company's interests rather than the artists', but it is not inherently wrong to make a lot of money out of something for which you initially paid very little money. If DC had known for certain that the Superman property would make millions then it might have been immoral to encourage Siegel and Shuster to give up all rights to the character, but they almost certainly didn't. They took a punt on the property, and it paid off.

Of course money isn't the only issue here. Alan Moore is far more upset about control of his creations than anything else. But even this is a commercial issue. It's easy to be snooty about the way the comics industry exploits its IPs, but – well – that's kind of how they make their money. More than that, it's kind of what's good about the medium. As in, what's artistically good. If Superman had remained in the exclusive control of its original creators, it would still look

like this

. Batman, by a similar token, would still look

like this

. Enduring comic-book characters remain relevant to a modern audience precisely because they are continually created and recreated, and this is possible only because the rights to these characters are owned not by their individual creators but by corporations. This idea doesn't sit comfortably in the mind of the average comics reader, who I suspect likes to place themselves on the side of the artist (not least because so many of us believe ourselves to be artists), but the truth is that we benefit directly from the system being the way it is.

Which brings us all back to the Watchmen prequels. The instinctive reaction of, I expect, most of nerddom, will be to raise a hue and cry because blah blah capitalism blah blah integrity blah blah cash-in blah blah blah. Because apparently we've forgotten that doing new things with old characters is what comic books are all about. The question of whether they are actually any good or not will be entirely academic (as

this edition of Our Valued Customers

nicely illustrates).

The whole thing seems grounded in a kind of skeevy Great Man Theory. The prequels might be brilliant, or they might be terrible, but what people seem to be concerned about is the fact that they will no longer be the product of One Man's Genius, that the mere fact that the prequels will not be written by Alan Moore irrevocably taints them. The whole thing reminds me of the kerfuffle over the proposed (but I believe never realised) Buffy revamp, when people were up in arms about the idea of Buffy without Joss Whedon. Even more peculiarly, people were insisting that a de-Whedoned Buffy would be a terrible blow against feminism, despite the fact that the lead writer on the proposed revamp would have been an actual woman.

This last point – that taking a property away from its straight, white, male creator will be bad for women and ethnic minorities – was made quite explicitly in the Slate piece that inspired this article:

For example: Moore’s comics have often been concerned with feminism, and one theme of Watchmen is that the superhero genre is built in part on retrograde sexual politics and thuggish rape fantasies. And how does Before Watchmen address these issues? Like so. If this were some piece of fan fiction detritus—naked Dr. Manhattan, porn-faced Silk Spectre!—it would be funny. But given that this is an "official" product, it starts to be harder to laugh it off.

I'm not sure where to begin with this. The first thing I'd say is that I have no idea which version of Watchmen this person was reading if they (a) think that “naked Dr Manhattan” is in any way a deviation from the original text and (b) think it's remotely appropriate to describe the original comic as “feminist”. This is a comic in which the fact that Sally Jupiter had a relationship with, and became pregnant by, the man that raped her is the detail which convinces Dr Manhattan that humanity is beautiful and worth saving (this is a slightly uncharitable gloss to put on that moment in the comics, but only slightly).

The second thing I'd say is that I can't help but notice that the article not only assumes that you can deduce an entire comic's gender politics from the cover of one trade paperback, but also fairly deliberately chooses the only cover that could have remotely illustrated his point. You can look at all of the other covers

here

. Most of them don't feature women at all, but this is a consequence of there only being one significant female character in the original text, which is surely Moore's fault as much as anybody else's (and again, doesn't seem to say much for his “concern for feminism”). You might specifically want to take a closer look at the cover of the

Silk Spectre

prequel, which is not only a good not-especially-sexualised portrayal of the character, but which is also drawn by an actual woman.

I think what I find most ironic about the backlash against the Watchmen prequels is that it's grounded in the very same notions of heroism which the comic itself deconstructs. The only reason to believe that (as the Slate article puts it):

Rorschach and Nite Owl and Dr. Manhattan have been raised from their resting place, and Moore—and the rest of us—now get to watch them stagger around, dripping bits of themselves across the decades, until everyone has utterly forgotten that they ever had souls.

Is if we accept that Alan Moore is somehow so uniquely talented that nobody except for him is capable of writing decent stories with those characters. As if somehow Moore's talent was so great that unlike Superman, Batman, the X-Men, the Avengers, or all of the characters he purloined for League of Extraordinary Gentlemen his creations would be uniquely tainted if they were touched by lesser mortals.

Perhaps even more tragically, this really does seem to be Moore's attitude. In

this interview

he makes a number of almost embarrassingly self-aggrandising claims about how uncreative, miserable and talentless pretty much everybody working in the mainstream comics industry is. He also, inexplicably, insists that his use of the character of Allan Quatermain in League of Extraordinary Gentlemen is different from the Watchmen prequels because apparently nobody had heard of Allan Quatermain before he put him in a comic (whereas Dr Manhattan is – what – a literary icon?). And complains that the people who got his share of the money from the Watchmen and Extraordinary Gentlemen movies didn't ring him up and personally thank him.

Perhaps the most mystifying quote in the whole interview is the part where he claims that the people working on Before Watchmen are doing so because: “It will probably be the only opportunity they get in their careers to actually be attached to a project that anybody outside of comics has ever heard of”. Leaving aside the fact that one of the writers on the project is J. Michael Straczynski – who created one of the most respected (although perhaps also most overrated) works of TV SF ever made – what is Moore smoking if he believes that anybody outside of comics has heard of Watchmen at all other than as that movie that guy made in 2009.

The thing is, Alan Moore absolutely does have the right to be bitter and angry about this whole affair, because he did get screwed by DC. But whatever he might think, Watchmen is not some dazzling beacon that demonstrated to the outside world the true potential of the comic-book medium. It's an okay-but-slightly-dated long-form comic book which comics nerds (and only comics nerds) obsess about because they think it makes them look clever.

The Watchmen prequels are very likely to be dull and uninspiring, but that is because Watchmen is dull and uninspiring. And any spark or relevance they have for a modern audience will have come from the people who wrote and drew them, it will not have been reflected from Alan Moore's imaginary genius.

Themes:

Topical

,

Sci-fi / Fantasy

,

Comics

,

Watchmen

~

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Arthur B

at 14:31 on 2012-06-06I simultaneously have no sympathy for the "what about Alan Moore?" argument but also think

Before Watchmen

is highly likely to be an enormous waste of time.

On the first point, it's worth noting that originally Alan Moore

didn't intend to use original characters for Watchmen at all

. Moore wanted to use the characters from the Charlton Comics stable of superheroes, which DC had acquired after Charlton bit the dust. DC were like "ummmm... we'd prefer you didn't junk these characters, why not make some original ones anyway?", Moore acquiesced and cooked up the Watchmen we know and love as thinly-veiled re-imaginings of the Charlton chumps.

The important thing about this anecdote, vis-a-vis this discussion, is that

the entire concept of Watchmen came about as a result of the corporate ownership of characters created by people who were not Alan Moore, and Moore wanting to write a story very much at odds with the original intentions of the characters' creators.

So the idea that the

Watchmen

characters somehow get to be sacred and mustn't be tampered with when they owe their very existence to Moore wanting to tamper with other people's characters seems pretty hypocritical to me.

On the other hand, with respect to

Before Watchmen

itself, I can't see how it can really be very interesting.

Watchmen

was constructed like one of those really cool domino runs - the interesting thing is watching this very delicate setup collapsing as the result of one little push. Watching the dominos getting set up before the actual domino run is just going to be tedious and I'd rather not.

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Wardog

at 14:54 on 2012-06-06I'd have more sympathy for Moore in general if he was less of a complete dick...

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Arthur B

at 15:07 on 2012-06-06Theologically Moore says he believes that all fictions are real in some sense.

If that were the case it shouldn't matter that someone else is using those characters or messing with those stories because they were never Moore's in the first place, he just found them.

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http://fishinginthemud.livejournal.com/

at 16:01 on 2012-06-06

The whole thing seems grounded in a kind of skeevy Great Man Theory.

This is a bit of a tangent, and I apologize if it goes too far off course.

I've been thinking about the Great Man Theory as it applies to capitalism and entrepreneurship, especially the popular notion that all great successes in business are the work of individual (male) supergeniuses. An entrepreneur has a Great Idea that works and makes him billions, he becomes a cultural icon, and he can then do no wrong until he does. Women can't have Great Ideas, because barefoot pregnant make me a sandwich.

The other day I hear a guy bring up that Sheryl Sandberg is the real brains behind Facebook, for taking that slack-ass Mark Zuckerberg's idea and finding a way to make it profitable. Another guy loudly counters that Zuckerberg was the "visionary" who had the "great idea" for Facebook and therefore deserves 100% of the credit and fame he's received at everyone else's expense.

Now obviously Zuckerberg's role in Facebook was much greater than simply coming up with the original idea, and his role in creating and running the company shouldn't be downplayed. And the second guy is a bitter, thwarted misogynist anyway, so if Sandberg and Zuckerberg's roles had been switched he'd be championing execution over ideas. It just strikes me that an idea rarely, if ever, starts out as a Great Idea, and only becomes so in hindsight. If we're not used to thinking of women's ideas as potentially Great Ideas, we're never going to get to the point where women have a reputation for Great Ideas to point to. And of course nascent ideas are a lot harder to judge fairly and objectively than, say, job performance.

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James D

at 17:35 on 2012-06-06

The important thing about this anecdote, vis-a-vis this discussion, is that the entire concept of Watchmen came about as a result of the corporate ownership of characters created by people who were not Alan Moore, and Moore wanting to write a story very much at odds with the original intentions of the characters' creators. So the idea that the Watchmen characters somehow get to be sacred and mustn't be tampered with when they owe their very existence to Moore wanting to tamper with other people's characters seems pretty hypocritical to me.

While you have a point, I think it's oversimplifying to some degree. I'm pretty sure that, had Moore been allowed to use those old characters, they would have been significantly and obviously different from the originals. They would have been almost totally reimagined. With the Watchmen prequels, they're supposedly about the actual characters themselves, so what happens in the prequels may directly relate to what happens in the original graphic novel itself.

Even so, I really just don't see what the big deal is, to be perfectly honest. It'd be one thing if Alan Moore were some poor downtrodden author whose works barely got any attention beyond a small but loyal cult following, and then some huge corporate giant came in and swindled him out of his rights and completely ran away with the man's franchise in a way he never intended and never credited him with anything. But The Watchmen is a very, very well-known graphic novel. There have been numerous sequels written to the Oz books by a variety authors, yet nobody really bitches and moans about those because the originals are firmly understood to be the originals. The millions of Star Wars tie-in books, games, action figures, etc. don't somehow warp the quality of the original movies.

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Arthur B

at 17:49 on 2012-06-06

While you have a point, I think it's oversimplifying to some degree. I'm pretty sure that, had Moore been allowed to use those old characters, they would have been significantly and obviously different from the originals. They would have been almost totally reimagined. With the Watchmen prequels, they're supposedly about the actual characters themselves, so what happens in the prequels may directly relate to what happens in the original graphic novel itself.

Actually, as I understand it the point was to use established characters with an established history to sucker in readers with a cosy sense of familiarity before exposing them to just how vile the characters really are, so had that plan gone ahead I imagine it would have involved more than a few callbacks to the Charlton stable's original stories.

But it's impossible to say one way or another because DC didn't let Moore do it.

The millions of Star Wars tie-in books, games, action figures, etc. don't somehow warp the quality of the original movies.

Of course, in the case of Star Wars George Lucas has proved himself perfectly capable of ruining it all by himself...

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http://scipiosmith.livejournal.com/

at 18:09 on 2012-06-06

The whole thing reminds me of the kerfuffle over the proposed (but I believe never realised) Buffy revamp, when people were up in arms about the idea of Buffy without Joss Whedon. Even more peculiarly, people were insisting that a de-Whedoned Buffy would be a terrible blow against feminism, despite the fact that the lead writer on the proposed revamp would have been an actual woman.

Disregarding Buffy's feminism (I never interpreted Buffy as a show about feminism but rather about vampires, becasue I was 10) I don't think you can argue that it would have been different. Star Trek was very different after Gene Roddenberry's death to what it was before; which some people preferred and some people hated, but the difference is undeniable. So if you thought that Buffy was perfect just the way it was I can see the idea of someone messing it about might be upsetting.

Of course people ought to be honest and admit that they don't like the idea because they don't want their cherished memories polluted instead of trying to conjure politics, but that wouldn't sound as good in Slate.

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http://scipiosmith.livejournal.com/

at 18:09 on 2012-06-06Sorry, wouldn't have been different.

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http://barefoottomboy.livejournal.com/

at 18:40 on 2012-06-06Not being overly attached to Watchmen (or Alan Moore in general), I may not be best placed to make this call, but I just can't get too worked up about the prospect of a prequel that isn't/might not be as good as the original. As James D says, the existence of (a) prequel(s) doesn't negate the existence of the original, or somehow retrospectively reduce its quality.

Not to say that all prequels/sequels/extensions/whatever are always a good idea, of course. But if you don't like them, there's nothing stopping you ignoring them and sticking to the originals you liked in the first place.

In terms of creators getting screwed over by copyright & the comic book industry, I really don't know enough about either to comment intelligently. Though I must confess that my immediate/gut reaction to Jack Kirby's *estate* losing out on a share of the profit of the Avengers film is "so freaking what? Why should I care about Jack Kirby's estate - what did they have to do with the creation of those characters?".

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Arthur B

at 19:29 on 2012-06-06

Though I must confess that my immediate/gut reaction to Jack Kirby's *estate* losing out on a share of the profit of the Avengers film is "so freaking what? Why should I care about Jack Kirby's estate - what did they have to do with the creation of those characters?".

We care because it's the 18th Century and people's copyrighted works aren't just meant to earn them money, it's also meant to be a way for them to provide for their wives and children.

This is

literally

the only reason why copyright has this weird "until the author's death plus X years" duration thing going on.

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http://scipiosmith.livejournal.com/

at 20:25 on 2012-06-06You say that like its such a bad thing.

I must say I'm of the opinion that if you can live on unearned income you probably should- and free up a slot in the job market for someone who needs it.

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James D

at 21:15 on 2012-06-06

Of course, in the case of Star Wars George Lucas has proved himself perfectly capable of ruining it all by himself...

One might say the same of Michael Moorcock and Elric, or any number of other creators who went on to ruin their creations. Honestly, when it comes to shoddy sequels, I can't really think of any corporation that did as much damage to other people's characters as those two did to their own. There are plenty of shoddy corporate sequels out there, to be sure, but does Alien: Resurrection really tarnish Alien at all? I certainly wouldn't say so. It's much harder to be that sure about the Star Wars prequels, or Moorcock's ill-advised later Elric stories that he shoehorned into the original chronology, when new viewers/readers could very well go into those series and take them as a whole, without differentiating much between the old and the new.

An argument might be made that the comics industry is unfairly entrenched in the practice of forcing authors to sign the rights of their characters over if they want to be published, but as I mentioned earlier it's not like Moore and his family are starving while corporate fat cats reap the benefits of his ideas. It's not like they're spuriously attaching Moore's name to projects he has no part of. There may be an argument to be made here, but The Watchmen is hardly the ideal battleground for it.

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http://melaniedavidson.livejournal.com/

at 21:53 on 2012-06-06

He also, inexplicably, insists that his use of the character of Allan Quatermain in League of Extraordinary Gentlemen is different from the Watchmen prequels because apparently nobody had heard of Allan Quatermain before he put him in a comic

I think it's funny that he chose probably the most obscure character for that example. Because even if Allan Quatermain was "almost entirely forgotten" (I don't know if this is the case even though I personally hadn't heard of him), the others are all from pretty well-known classics. I'm sure he knew how ridiculous it would sound if he said Jekyll and Hyde were obscure and forgotten and only about six people had heard of the story.

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Arthur B

at 22:07 on 2012-06-06

You say that like its such a bad thing. I must say I'm of the opinion that if you can live on unearned income you probably should- and free up a slot in the job market for someone who needs it.

The number of copyrighted works which actually still rake in a substantial amount of royalties decades after publication is amazingly small. I don't know whether the Tolkien Estate rakes in enough loot from LOTR for Christopher Tolkien and his extended family to sustain themselves without working - I suspect not given the drip-drip-drip of unpublished works coming out from those quarters. In fact, a hell of a lot of the beneficiaries of properties which still rake in mad loot after decades aren't estates or widows or orphans at all. It's the Disney Corporation and people like them.

An argument might be made that the comics industry is unfairly entrenched in the practice of forcing authors to sign the rights of their characters over if they want to be published, but as I mentioned earlier it's not like Moore and his family are starving while corporate fat cats reap the benefits of his ideas.

And of course anything we can say about the state of comics industry author contracts with regards to Watchmen applies mainly to contracts as they existed in the 1980s, when the rights were actually handed over, and offers us little insight into contracts as they exist now.

The situation in the 1980s isn't one I've investigated much, but today I'm really not bothered about it. We exist in an age when if a comic creator wants to publish their work online for everyone to enjoy, they can do so - and in fact make some money out of it. Enough to live lavishly? Probably not, but unless you're writing/drawing a big heap of stuff for DC/Marvel as well as your own personal pet projects you're not likely to be earning great cash from them either. There's no

reason

to even offer your all-original creations up to DC or Marvel in the first place unless think signing over your rights to them is a worthwhile price to pay to get wider distribution and a higher profile - and if you don't think that's a worthwhile price, don't sign the contract in the first place.

Conversely, if you want to write for DC and Marvel because you want to write stories using their characters, it's only fair that they should have editorial control over what you do and only fair that they get to play with any original creations you add to their universes. If you want to play in the big sandpit which is Gotham City (or wherever) it's silly to expect to be allowed to take your sandcastle home with you, and short-sighted to imagine that another kid won't kick over or improve your sandcastle once you leave.

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Dan H

at 22:44 on 2012-06-06

I think it's funny that he chose probably the most obscure character for that example. Because even if Allan Quatermain was "almost entirely forgotten" (I don't know if this is the case even though I personally hadn't heard of him), the others are all from pretty well-known classics. I'm sure he knew how ridiculous it would sound if he said Jekyll and Hyde were obscure and forgotten and only about six people had heard of the story.

That's a good point and one I'd failed to notice.

(Sorry, I have no comment beyond that)

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https://www.google.com/accounts/o8/id?id=AItOawkWbOwQVOANXVz3Xs8lGIILC0qzTMuEKS4

at 13:13 on 2012-06-07

Leaving aside the fact that one of the writers on the project is J. Michael Straczynski – who created one of the most respected (although perhaps also most overrated) works of TV SF ever made

Wow, I didn't realise Jeremiah was so popular!

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Sister Magpie

at 02:54 on 2012-06-09

I'm sure he knew how ridiculous it would sound if he said Jekyll and Hyde were obscure and forgotten and only about six people had heard of the story.

I'm not that familiar with LoEG but the little I remembered from it was making me ask just this question!

I must say I'm of the opinion that if you can live on unearned income you probably should- and free up a slot in the job market for someone who needs it.

But what's funny about that is that it's actually not about giving all money to someone for having the idea. Once you're talking about the estate you're saying that it's somehow more ethical to pay someone for being related to the person who created the character than for being the person who had something to do with making the character famous.

I really think people's real fright when it comes to things like this is that someone's going to tell a story they really don't like that bums them out--and I can sympathize because I hate it when comics play around with backstory in ways I don't like. Luckily if a story sucks it usually gets quietly dropped from continuity anyway. (There's a name for it I can't remember, referring to a bizarre alien who visited the Flash...)

With Watchman it seems like it's got a lot to do with the importance that Watchman is supposed to have, even though it's not really that tremendous.

Also, not only is it ironic that Moore was originally planning to use someone else's characters for the story, but it's not like Moore hasn't made some major changes to other peoples' characters and left others to sort them out. For instance, by paralyzing Barbara Gordon in The Killing Joke. I know he says he never knew it would be in continuity, but it changed comics--and not because of his story (which gets imo overpraised) but because other people came in afterwards with an idea for the character.

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Sister Magpie

at 02:55 on 2012-06-09Oh, p.s. That reminds me, thinking of the TKJ that yeah, I am really confused by the idea that Watchman needs to be kept in the hands of AM because other writers--especially female ones--will mess up all the feminism.

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Arthur B

at 13:14 on 2012-06-09

I know he says he never knew it would be in continuity, but it changed comics--and not because of his story (which gets imo overpraised) but because other people came in afterwards with an idea for the character.

I think it would be incredibly short-sighted for any comics author to say "but I didn't know that this idea I put forward in a

Batman

story would become

Batman

continuity!"

I mean, I see that you genuinely wouldn't know whether any particular story of yours would become key canon, get banished to the outer darkness of non-canonicity, or linger somewhere in between. But to not at least consider the possibility that DC might declare that something you have done should stick seems to involve wilfully ignoring how comics continuity works in the first place.

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Adrienne

at 23:09 on 2012-06-09Arthur B: Not so much so, actually. There's a lot of stuff done by the major comix houses that's very specifically pitched and written from the start as not-in-continuity. All of the

Elseworlds

from DC, and similar "What If..." stories from Marvel are in this category, as are the "Ultimate [Whoever]" stories by Marvel that explore alternate origins.

I grant that a VERY FEW of the Elseworlds stories have eventually ended up with bits in continuity (they apparently wrote a sequel series to Kingdom Come, and brought bits of that timeline into continuity. Which makes me sad, mostly because i think Kingdom Come was a remarkably self-contained and lovely piece of storytelling!) But if Alan Moore was told that Killing Joke was Elseworlds, frex, it would not at all have been an unreasonable assumption that nothing in it was going to ever be in continuity.

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Arthur B

at 23:32 on 2012-06-09

Not so much so, actually. There's a lot of stuff done by the major comix houses that's very specifically pitched and written from the start as not-in-continuity. All of the Elseworlds from DC, and similar "What If..." stories from Marvel are in this category, as are the "Ultimate [Whoever]" stories by Marvel that explore alternate origins.

True enough, though

The Killing Joke

wasn't, to my knowledge, promoted as being any of these (and as you point out, if an idea in an Elseworlds thingy gets popular enough then it'll snake its way into canon anyway).

As you say, if Alan Moore was told that

The Killing Joke

was an Elseworlds but then it wasn't promoted as one that'd be kind of sucky on the part of DC, but I don't see any suggestion that that was the case. On the other hand, I don't see that this is one of the reasons why he's upset with his treatment by DC in any case. Surely any comics author would be

thrilled

to have a plot element they introduced become a major ongoing thread in Batman continuity rather than something retconned away within a story or two?

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Sonia Mitchell

at 13:08 on 2012-06-12I have to admit to feeling that Watchmen is a bit of a special case, not because of merit (although I do like it an awful lot) but because it's *specifically* about how characters interpret the past. The story's present is not the key date; it's the lead-up to the Keane Act that the narrative really revolves around.

Which does kind of mean that any 'glory days' Minute Men [II] prequel is going to be dipping into the same timeline Watchmen covers in the narrative, which to me blurs the line between 'prequel' and 'reinterpreting a story which has already been told'. Watchmen showed us the Minute Men days from a number of perspectives - either the prequels will show more of the same old thing (in which case why bother?) or they'll introduce something which will specifically challenge the parent narrative.

I'm sort of intrigued to see what they do, and I do agree that Watchmen can bear to be challenged, I just don't think it's quite as clear-cut as some other prequels. Yes, plenty of comics and other stories have had backstory added later, but I don't think all that many of them were specifically *about* backstory.

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https://me.yahoo.com/a/bpFlIkMVk4ZqOVtCOXzX2V_0665JvfqFHA--#af083

at 14:16 on 2012-06-13A thoughtful and thought provoking essay. Excellent stuff.

I wonder, though, if your focus on commerce and copyright doesn’t tend to swerve a bit around Alan Moore's concerns. I think that the argument is not that DC and the writers and artists involved can't produce Watchmen prequels but rather that, for aesthetic or artistic reasons, they ought to choose not to. And the question of who profits from the endeavour is, as far as I can see, neither here nor there for these purposes.

So Watchmen is, according to this view, a finished work of art, and by monkeying around with the characters and back story you monkey around also with the integrity of the work; you risk diluting its affect or altering its cultural resonance. You might legitimately argue that no amount of monkeying prevents Watchmen from continuing to exist as the thing that it is. However, there seem two reasonably valid counterpoints, both stemming from the basic assumption that art is rarely meaningful without context. First, as Sonia Mitchell very acutely pinpoints above, Watchmen is very much about time and continuity, the future and the past, and by filling in the backstory you almost necessarily, although perhaps in a limited sense, do damage to the extant work. Second, Watchmen speaks implicitly to comics as a medium, and part of its power may be that it remains separate from the usual retrofitting, rebooting, continuity errors and the associated slash and burn approach to narrative. These arguments still rather depend on a willingness to think of Watchmen as exceptional, I admit (although as far as US superhero comics go I think it takes a lot of work to say that it’s not).

What I suspect really gets Moore’s goat about this is the simple disrespect, in particular as evidenced by his fellow artists. Watchmen is his single best claim to cultural relevance and longevity, he has explicitly said he’d much rather they left it alone, and yet still a whole bunch of quite eminent comics dudes (many of whom seem to bang on about how much they like/admire/were influenced by Moore in general and Watchmen in particular) are happy to take a DC cheque to monkey about with a story which he feels is complete.

On Moore ‘the personality’ I tend to think that while he may be intemperate, a bit silly, creatively stalled and less unimpeachable on, in particular, gender politics than I’d like, he’s generally more consistent, principled, and intellectually interesting than his opponents.

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Arthur B

at 14:40 on 2012-06-13

What I suspect really gets Moore’s goat about this is the simple disrespect, in particular as evidenced by his fellow artists.

Again, though: is this really that different from Moore's original intention to take characters and stories from the Charlton stable and monkey around with

them

? The only substantive difference is that whilst we know Moore's feelings about

Before Watchmen

nobody seems to have asked the Charlton creators how they'd have felt to have their characters despoiled had Moore's original vision for

Watchmen

come about.

I have a simple stance on these things: if you don't want someone to slaughter your baby,

don't sell your baby to them

. If

Watchmen

really is Moore's best claim to cultural relevance and longevity*, then at least part of that is down to DC's promotion of the book as this big-time smart comic for smart people and in their efforts in keeping it in print.**

* I'd dispute this point too.

V For Vendetta

, surely, has attained a greater level of cultural ubiquity thanks to Anonymous.

From Hell

is arguably on a par with

Watchmen

when it comes to critical acclaim.

** I understand that Moore argues that DC swindled him by not letting

Watchmen

go out of print, thus ensuring that the "reversion clause" in his contract would never kick in (which would have caused the rights to revert to him and Gibbons). It's hard to say how truthful or accurate this statement is unless Moore or DC actually publish the contract. However, if that is the case it seems that Moore negotiated a contract with DC where they'd either have to keep his comic in print for perpetuity - which I would argue goes a long way towards reinforcing that cultural relevance and longevity shebang - or give the rights back to him. In other words, they have to do one of two things they wouldn't do for Joe C. Ordinarywriter, and they chose the first option over the second option. Who could blame 'em?

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James D

at 15:04 on 2012-06-13The difference between the Watchmen characters and the Charlton Comics characters is that they were conceived very differently. When DC discouraged him from using the Charlton Comics characters, he invented his own - not to be a series, but to be a one-off novel with a specific character arc for each that brings their stories to a close. Comics writers inventing series understand that their characters will be written by other people, and probably take great pains to introduce plotlines and conflicts that they know won't ever truly be resolved or will at least last a really long time - Batman vs. Joker, Darkseid's quest for the Anti-Life Equation, etc. Watchmen instead invents characters not for a series, but for a novel, and ends them decisively.

Had Moore used the Charlton Comics characters, it would have been clear that the Watchmen story was very separate from their original stories, and highly unlikely to be ever seen as 'canon' to the original series, especially since he permanently kills a lot of them. Instead, it would have been seen by those who knew about the characters as an ironic counterpoint to who they actually were - like if someone wrote a one-off graphic novel in which Batman and Superman were evil, or something. That's the difference as I see it.

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Arthur B

at 17:52 on 2012-06-13Well, Moore thought that there'd be scope for a prequel - back when the thing first came out he said he'd consider doing one if

Watchmen

did well enough.

Of course, that was under the assumption that it'd be Moore writing it rather than someone else, which he was always against. But again: if someone doing something with your characters is unacceptable, don't sign a piece of paper giving them the right to do that.

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James D

at 19:00 on 2012-06-13Yeah, no argument here. It's not like there weren't alternative comics publishers back then that might have offered him a better deal in terms of what rights he would retain, but that would probably have involved settling for smaller print runs, less distribution, and less money in the end too.

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https://me.yahoo.com/a/bpFlIkMVk4ZqOVtCOXzX2V_0665JvfqFHA--#af083

at 12:38 on 2012-06-15

Again, though: is this really that different from Moore's original intention to take characters and stories from the Charlton stable and monkey around with them?

I think it’s pretty easy to draw distinctions (see eg James D. above), even if only of nuance, and I don’t, in any event, have much interest in asserting that Alan Moore is a paragon of moral and philosophical consistency (although he may very well be). However, I suspect that the extent to which you find the distinctions convincing and the possibility of hypocrisy forgivable will in the end align with how highly you rate Watchmen.

I have a simple stance on these things: if you don't want someone to slaughter your baby, don't sell your baby to them.

I wonder if this simplification obscures more than it illuminates. Selling a baby might well reduce the stake you have in its future, but it doesn’t necessarily mean you have neither say nor interest in how the new owner treats it, and nor does it mean that they have no responsibilities towards it, particularly in a world where baby-sale is the standard means by which babies are encouraged to fulfil their potential. However, this just takes us into contract law, and as I say there’s no suggestion that DC are doing anything illegal.

If Watchmen really is Moore's best claim to cultural relevance and longevity*, then at least part of that is down to DC's promotion of the book as this big-time smart comic for smart people and in their efforts in keeping it in print.**

Sure, I suppose so - good work DC! But so what?

It’s not directly relevant to this issue, but I’ve always struggled with the characterisation of Watchmen as a smart comic for smart people, it strikes me as at its best if understood as a smart superhero comic for smart superhero comics fans.

You may well be right about V for Vendetta, and From Hell - it’s probably an indication of my age that I still think of Watchmen as a sacred cow.

I’ll set out my stall for what it’s worth (the paper it’s written on, ie): I don’t care very much about Watchmen prequels, although I’d prefer it if they didn’t make them and I suspect DC of being a creatively bankrupt shower; I don’t think the prequels will do harm to Watchmen but I do think there’s a genuine risk that they might; I don’t find Alan Moore’s response to the decision particularly edifying; but I think he’s earnt the right to the respect of his peers and to be heard sympathetically.

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Arthur B

at 13:25 on 2012-06-15

Sure, I suppose so - good work DC! But so what?

So then Watchmen as a cultural institution is not purely a product of Alan Moore's unfettered genius or Dave Gibbons' stylish art; it's also a product of the promotion that DC has provided it with and DC's custodianship over the franchise as a whole. DC has a stake in the thing's success, and has more than earned it with said custodianship, so the idea that DC has no place to decide whether or not a prequel series would be a good idea because AUTHOR UBER ALLES seems a stretch. You can quibble as to whether DC is

practically capable

of doing a good job or whether the particular writers they have are up to the task, of course, though the arguments Dan's objecting to in the article aren't about such specifics; they're about general, absolutist claims that the prequels

cannot possibly be good because Alan Moore isn't involved

.

You may well be right about V for Vendetta, and From Hell - it’s probably an indication of my age that I still think of Watchmen as a sacred cow.

I dunno, I can't think of

any

pop cultural work which I'd describe as a sacred cow these days whereas I was much more inclined to do so when I was younger.

I don’t find Alan Moore’s response to the decision particularly edifying; but I think he’s earnt the right to the respect of his peers and to be heard sympathetically.

I think he has the right to be heard but how sympathetic I hear him kind of hinges on how much what he says makes sense to me. If someone's talking whiny, self-serving crap then I'm going to call it that whether it's Alan Moore or Random McWebcomicartist.

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James D

at 14:19 on 2012-06-15

So then Watchmen as a cultural institution is not purely a product of Alan Moore's unfettered genius or Dave Gibbons' stylish art; it's also a product of the promotion that DC has provided it with and DC's custodianship over the franchise as a whole. DC has a stake in the thing's success, and has more than earned it with said custodianship, so the idea that DC has no place to decide whether or not a prequel series would be a good idea because AUTHOR UBER ALLES seems a stretch.

I think this is oversimplifying things. The roles Moore and DC fulfilled in the production of the Watchmen were totally different; as far as I know, DC had little to nothing to do with the creative aspect of the novel, and Moore's objections to the prequels seem to be purely creative in nature. If on the other hand the dispute were on the business side, that Moore didn't think Watchmen prequels would sell and DC did, the shoe would be on the other foot.

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Arthur B

at 14:31 on 2012-06-15Again, since Moore a) wanted to do prequels back in 1985 and b) has said he'd have gladly accepted DC's offer to do the prequels (which was going to involve giving him the rights to

Watchmen

back if he said yes!!!) if they'd offered in 1985, then it seems to me that the dispute is entirely on the business side and the complete collapse of Moore and DC's professional relationship (and more particularly, the fact that Moore would rather keep sulking than engage in any sort of constructive dialogue with DC, even one which would lead to him getting what he'd wanted all along).

Also, FWIW Dave Gibbons is 100% fine with the prequels, so at half the original creative team is cool with the project.

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James D

at 17:37 on 2012-06-15Ah, I didn't know Gibbons was down with them. That does change things a bit. Moore is pretty much handling the whole thing like a big whiny baby. If there were prequels coming out to a book I'd written and there was nothing I could do about it, the first thing I'd say was "let me do them." If he didn't have ridiculous demands, DC would probably jump at the chance to slap Moore's name all over them.

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https://me.yahoo.com/a/bpFlIkMVk4ZqOVtCOXzX2V_0665JvfqFHA--#af083

at 09:39 on 2012-06-18

So then Watchmen as a cultural institution is not purely a product of Alan Moore's unfettered genius or Dave Gibbons' stylish art; it's also a product of the promotion that DC has provided it with and DC's custodianship over the franchise as a whole. DC has a stake in the thing's success, and has more than earned it with said custodianship, so the idea that DC has no place to decide whether or not a prequel series would be a good idea because AUTHOR UBER ALLES seems a stretch

.

Setting aside the perplexing CAPITALISED ALLUSION to the German national anthem (or possibly the Dead Kennedys), this is a fair point, although it seems designed to address a binary understanding of this dispute - I think everyone who has contributed to this thread has expressed a fairly mixed view, despite tending one way or the other. Meanwhile, the fact that DC are going ahead with this, in the face of Alan Moore’s explicit disapproval suggests that their interests are fairly well protected and represented. Your implicit notion that DC have earnt a right to a say in the artistic content of Watchmen (beyond questions of marketing, design and the commercially relevant business of protecting, managing and exploiting lucrative copyrights, I mean) is one that hadn’t really occurred to me, and that I instinctively don’t like, but I ought to go away and think about it properly. Thanks!

You can quibble as to whether DC is practically capable of doing a good job or whether the particular writers they have are up to the task, of course, though the arguments Dan's objecting to in the article aren't about such specifics; they're about general, absolutist claims that the prequels cannot possibly be good because Alan Moore isn't involved.

I’m not sure who you’re arguing with here so I’ll leave it.

I dunno, I can't think of any pop cultural work which I'd describe as a sacred cow these days whereas I was much more inclined to do so when I was younger. I think he has the right to be heard but how sympathetic I hear him kind of hinges on how much what he says makes sense to me. If someone's talking whiny, self-serving crap then I'm going to call it that whether it's Alan Moore or Random McWebcomicartist.

Quite a nice unintended irony here, but perhaps I’m just reeling from the old school ‘... yeah, I used to think that too … but then I grew up...’ dis. Is it possible, do you think, to imagine an

even older, even wiser Arthur

? I can just about manage it: he’s grizzled and twinkly-eyed, smoking a pipe, and, with a wry smile, looking down the years at his younger self’s righteous withholding of sympathy from both the mighty and the meek, his fearless enthusiasm for detecting 'whiny self-serving crap' in strangers, and his habit of slaying sacred cows while denying their existence.

JK! Before this degenerates into us chanting 'no YOU'RE immature!' at each other, I should also say, Arthur, that your precipitous enthusiasm for getting stuck in with the minimal possible delay is one of the things that make Ferretbrain fun for me, a fond reader.

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Arthur B

at 10:00 on 2012-06-18

Setting aside the perplexing CAPITALISED ALLUSION to the German national anthem (or possibly the Dead Kennedys), this is a fair point, although it seems designed to address a binary understanding of this dispute - I think everyone who has contributed to this thread has expressed a fairly mixed view, despite tending one way or the other.

Actually, it's a CAPITALISED ALLUSION to the extraordinarily pervasive idea that authors are an exalted form of being and anyone else's contribution to the success of a creative endeavour is secondary. Putting DC aside, I'd say there's a strong case that Dave Gibbons' contribution to the art, which extended to more than simply drawing stuff Moore described to him, is a part of the final package which can't be ignored, so Gibbons' support for the prequel project ought to be weighed against Moore's disapproval. And yet, so often in discussions about the subject Gibbons isn't even mentioned.

Is it possible, do you think, to imagine an even older, even wiser Arthur?

I can imagine all sorts of things, but winning an argument by hypothesising a version of your opponent who will agree with you is a strategem I hadn't even begun to conceive of. Bravo, I guess. ;)

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https://me.yahoo.com/a/bpFlIkMVk4ZqOVtCOXzX2V_0665JvfqFHA--#af083

at 10:16 on 2012-06-18Ha ha! Such a speedy reply, arguing so fiercely against points no one is currently making, is surely a nice intended irony!

I surrender the field to you Arthur - please continue to slag Alan Moore without any let or hindrance. I will instead exchange gentle, supportive imaginary emails with the imaginary future Arthur, who, you must concede, does at least seem like a jolly nice chap.

Good piece on the Soul Drinkers by the way.

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Arthur B

at 10:20 on 2012-06-18I anticipate being as confused by our future correspondence as I am by our present.

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http://fishinginthemud.livejournal.com/

at 19:50 on 2012-06-18

I will instead exchange gentle, supportive imaginary emails with the imaginary future Arthur, who, you must concede, does at least seem like a jolly nice chap.

Best. Flounce. Ever.

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Fin

at 23:51 on 2012-06-18and now for the moment when it's revealed that you've been speaking with your future self all along.

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Arthur B

at 00:08 on 2012-06-19/decodes lottery numbers from posts in thread.

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Ibmiller

at 18:44 on 2012-07-02So, anyone check any of these out? I'm currently following Silk Specter, Minutemen, and Nite Owl, and liking them. Because his Superman story left me cold and his Wonder Woman story leaves me furious, I'm giving Azzerello's Comedian and Rorschach stories a pass. Plus, I'm not a huge fan of those characters by themselves - seeing a young Rorschach with a Nite Owl is much more interesting to me.

[davidmann95]

What are your thoughts on Infinity War and do you think the portrayal of Thanos is gonna make it harder for DC to do Darkseid in a future move due to comparisons?

Extended disconnected musings below the cut because world-shaking spoilers fucking obviously, but for the section of my audience that hasn’t seen it yet but is fine with simply seeing my immediate reaction and placement of it: it’s so very good, y’all. Hype as modern blockbuster filmmaking gets. Not a top-5 MCU flick (which is a credit to the MCU, not in any way a ding against this), but if you only count the Avengers movies that actually have “Avengers” in the title, this is definitely the best of that lot.

* I had been, while not concerned per say, very curious how the Captain America team would handle this - the writers might have been there from the beginning and done some pretty bombastic pulpy action in the first Cap movie, but the Russo Brothers had been entirely on the grounded side of the franchise, even doing the relatively grounded Avengers movie in Civil War - given this would be the most cosmic and superheroey of the bunch, and they acquitted themselves magnificently in every way imaginable. It’s big, it’s funny, it’s ballsy, it’s engaging, it’s fun, it’s weighty as hell, it’s emotional, it’s the gold standard of this sort of thing. I have no idea what they’ll do if they ever stop doing Avengers movies, because at this point the sky is the absolute limit for them.

* I know people have already inevitably been complaining about this being dependent on previous movies for continuity and character, to which I say

1. Fuck you, this is the sequel to a once-in-a-generation filmmaking blockbuster that completely changed the game, of course you’re going to know who the goddamn Avengers are, most especially if you’re going to see this movie. Don’t act like you’re that cool. You’re not that fuckin’ cool.

2. This may not have been a movie of character development, but it’s by no means a movie short on character. It’s very much in the vein of Grant Morrison’s JLA, in that it banks on familiarity and iconography not to change our understanding of these characters, but to do the most conspicuously *them* moments possible. Captain America might be a minor presence, but he’s Captain America as heck in this, and so forth.

3. This only banks on you having seen the first Avengers. Banner is our entrypoint character because he himself doesn’t know what’s going on so the Avengers breakup can be recapped in broad terms, the initial conflict you don’t really have to know about Ragnarok to understand (they could’ve been fleeing Thanos destroying Asgard for all a casual viewer would know), Spider-Man’s role is obvious even aside from him being a cultural icon, Panther is Cap’s secret ally the rest of the team barely knows about so and Wakanda are broadly understood, and the Guardians and Strange are reintroduced. Strange you immediately know all you need: Wong defers to him so he’s clearly a big deal, but he’s also still telling him things about magic - even if jokingly - so clearly Strange is not the most seasoned veteran and hasn’t been in this hidden mystic world forever. The Guardians are space bozos, and based on Star-Lord’s manchild nature and 80s nostalgia and lack of familiarity with the Avengers you can guess he hasn’t been to Earth in a long time even if he clearly hails from there.

* Thanos was…good? Though I would have yelled “BULLSHIT!” at my monitor when I saw Starlin declared Thanos in an interview to be exactly as he had always envisioned him had I seen this at the time, because this is very much from the Slade-in-Teen-Titans “scrap everything, and it’ll wind up better because there’s nowhere to go but up” school of villainous improvement. But seriously, while surely people will write eye-rolling thinkpieces on his nature and goals, he’s a proper vile bastard of the sort we haven’t quite gotten in these movies before that more than justifies his place after 6 years of buildup, with humanity to spare keeping him from being a caricature; it should avoid Darkseid comparisons quite deftly (and vice-versa), even if none of what made this work can translate back into the comics. And as much as the sidekick baddies might have been traditional uncanny-valley CG, this guy might be the most amazing effect I’ve ever seen in a blockbuster: I totally bought this was a real flesh-and-blood living being existing in recognizable 3-dimensional space whenever they zoomed in on his expressions. And more importantly, they acknowledged he has a nutsack for a chin.

* Speaking of effects, that’s how you do a fuckin’ magic fight!

* And speaking of villains: SKULL. What a payoff, and I sure hope he stays and fills the role Mephisto did in the original Infinity Gauntlet as Thanos’s right hand man, because I want to see him face down with Steve as Captain America one more time. In a very different movie/s, I could have seen him seizing the Gauntlet and promising Thanos he too will wipe out half the universe, but much less indiscriminately, with the great tyrant dying with the ultimate monstrosity his endeavor has brought about evident to him at last. And then you’d have the ultimate Nazi as the final boss, since not only are he and Cap enemies, but he battled Iron Man’s dad, was well-versed in Asgardian mythology and stole one of Odin’s treasures, and is like Hulk a failed Super Soldier. What we got should be pretty good too though. Fingers crossed he at least sticks around to menace Bucky and Sam once one of them takes over as Cap.

* Outside the villain, boy, who would have expected Thor would basically be the closest thing to a main character of this movie? I guess Marvel rightly expected Ragnarok would be fire, and knowing that he’ll now be the major remaining original Avenger, are trying to build him up in double-quick time. And with only half of Asgard gone, they can keep the setup Waititi provided after this (even if I wish they hadn’t brought back his eye. I’m not worried for him personally though; his godly constitution should be more than capable of resisting mere alien raccoon ass germs). And given Ultron was the Iron Man-centric flick and Civil War was literally a Captain America movie, it feels fair they gave this to the third member of the core trio. By contrast, I’m not sure whether Black Panther was too late for them to account properly for him, or they did know, and that’s why the final action was set in Wakanda even though it’s relatively irrelevant.

* The characters getting to bounce off each other was much of the heart of this, and while Downey vs. Cumberbatch was totally reasonable - I wish Strange and Spidey had more time together as promised as fellow Ditko creations, but doing Sherlock vs. Holmes makes sense, with “Do you concur, Doctor?” almost feeling deliberately evocative - I never would have expected Thor and Star-Lord to be the standout comedic pairing. And yet, as Drax put it, it entirely makes sense: “He is not a dude. You are a dude. He is a man.”

* What most leapt out at me as signalling this is the post-Trump movie relative to Civil War’s summer 2016 blockbuster? There, the question of whether or not the government can be trusted is the inciting incident that drives everything. Here, that the government is actively working against the right thing is so plain that Rhodes - who had previously said his critical injuries were more than worth standing up for the Accords, so passionately did he believe in all they stood for - immediately, casually acknowledges that the entire thing is fucked and bails with no fanfare, and that’s the end of it.

* I’d expected this to be an all-out invasion flick and so had been disappointed no Defenders or whatnot would at least cameo, but as it really turned out I’m not surprised there wasn’t a place for Daredevil to stick his horns in. And despite assurances, no Hawkeye! I’m sure as many as 5 or 6 people were quite disappointed.

* Betting pool on who’s actually dead? Obviously everyone vanished will be okay, but the others? Gamorra looks pretty stiffed, but she seems a safe bet to return. Vision’s end felt gruesomely final, but they put so much effort into implying he might be able to survive without the stone, and now they have a seminal story to draw on for a potential solo movie of his. Loki, I think, is most likely to remain in the ground. A last-minute return and final prank against Thanos wouldn’t be out of place for him by any means, but his character has come full circle, and I think it’s more likely that if he returns it’ll be as Kid Loki.

* Speaking of the vanishing, I really appreciate the thought that clearly went into who was taken off the board. The castoffs either really had nothing to do with the Thanos conflict, even and indeed especially if they were big for maximum shock value (Black Panther, Spider-Man, White Wolf, Falcon, Mantis), or DID have something to do with Thanos but whose arcs in terms of physical confrontations with him reached their logical climaxes (Star-Lord vented regarding their shared relationship to Gamorra, Drax tried and failed as he was always going to because that one-sided hate he wanted fulfilled isn’t as much at the core of his character as Gamorra’s relationship with Thanos is). Or in Strange’s specific case, the enigmatic type with an ace up his sleeve who could logically leave a final mystery and hope for others to have to rely on. And as a whole, it means the final OG Avengers movie ISN’T going to be an even bigger crossover movie than this the way we thought. This, for the MCU’s 10th anniversary, was the big crossover movie. The last Avengers movie as we’ve known it up to that point is mostly just going to be the founders (plus Captain Marvel, a mandatory Wakandan representative or two, and Rhody since he’s the other hero who was introduced in Phase One) getting one last hurrah. And it makes sense to go with that smaller cast, because they’ll want space to really zero in on Steve and Tony before they go, and since going at Thanos head-on is no longer an option, there’s not really going to be an opportunity for the same kind of massive super-war we got in here anyway, because then he’d simply de-create them.

* Steve and Tony are going to die, and going into pure fanfic, I think I know how it’ll happen. Steve will get the Gauntlet, and it’ll kill him to use it, but in an homage to the climax of Kree-Skrull War, he’ll use his last breath to not only revive everyone, but bring together an army of superheroes to defeat a depowered Thanos once and for all (Gamora or maybe Nebula almost certainly striking the final blow), raising his returned shield high, exchanging a last look with Bucky, and finally crying out “AVENGERS ASSEMBLE!” And Tony? Tony is going to knowingly walk to death in a doomed fight against Thanos as a distraction to give Steve that chance, becoming the guy who lays down on the wire and lets someone else crawl over him. It not only reaffirms his partnership with Steve and the idea behind the original Avengers just as both die, but brings his character arc totally full circle: he faces down the embodiment of his nightmares, and after having lived as the ultimate egotist, he dies as the man who sacrifices himself so someone else can secure the win. And Thanos was I believe introduced in an Iron Man comic, so that aspect’s pretty appropriate too.

* Jackson finally almost got to say motherfucker in one of these! And that’s the second Marvel movie with a character nearly saying fuck. Take the leap Disney, I believe in you. And much as that last shot in the stinger was neat, and much as this alternative would have been literally impossible, how much cooler would it have been if that screen had shown a “4″?

* My #4 title prediction? Avengers: The End. There was a big Thanos story by Starlin titled Marvel: The End where he destroys everything but ultimately turns it back, and that’d be both ominous enough to fit the warning that we should be scared of this title, and spiritually truthful. And since the Spider-Man movie right afterwards will according to Feige mark the start of the new MCU, they can title that Spider-Man: Brand New Day in accordance with said new beginning.

* Post-all this? It’ll be awhile yet before the Fantastic Four and X-Men come on stage, so ‘Phase 4′ will basically have to stall until they can bring in Doom to be the true final boss before the inevitable reboot a decade or so down the line. Spider-Man’s the new lead (hence the Iron Spider armor, which in Homecoming seemed deliberately to be overly gaudy as Tony’s vision of a Spidey remade in his image but now seems an indicating as his leading man status, the red/yellow/blue color scheme marking him as Peak Superhero) along with Panther, Captain Marvel, and likely Thor as the old standby. The Avengers likely disband for a bit due to losing the core and break up into different teams - your Ultimates, Champions, Young Avengers, etc. - before coming back together in New Avengers, managing to make the Avengers movie after the next one an event by making it about the reformation. Osborn leading the Cabal’s the big bad; he’s the leading man’s leading villain, he has the pedigree thanks to Dark Reign while still being able to put on a Goblin suit at the end, he lets them do the inevitable “all the bad guys get together to fight the Avengers” story, and while it might not work as well as it would have post-BvS pre-Justice League, using Sentry/the Void - a compromised, frightening, unsure, ‘realistic’ Superman figure - as his muscle and the true threat would be hella charged at the moment in a way I could see the MCU being cocky enough to go for, even if they never outright do Avengers V Squadron Supreme.

That’s what I got. As the god of thunder would say, farewell and good luck, morons.